Visual Storytelling with Final Cut Pro X — Second Edition | Andrew Gormley | Skillshare

Visual Storytelling with Final Cut Pro X — Second Edition

Andrew Gormley, Filmmaker / Creative Director

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37 Lessons (3h 25m)
    • 1. Trailer

      1:25
    • 2. Intro and Housekeeping

      2:52
    • 3. Footage Download Links

      2:30
    • 4. The FCP X File Structure

      2:38
    • 5. Storyline vs track based editing

      1:35
    • 6. The Interface

      7:24
    • 7. Import Options

      4:27
    • 8. Importing Footage

      8:51
    • 9. Organizing Your Footage

      8:39
    • 10. Compiling the Rough Cut

      19:16
    • 11. Advanced Trimming Techniques

      4:47
    • 12. Editing Preferences

      2:11
    • 13. Quick Sharing Your Project

      3:35
    • 14. Ripple, Roll, Slip, and Slide

      5:18
    • 15. Storylines

      3:28
    • 16. Compound Clips

      5:01
    • 17. Backing Up and Autosaving

      4:32
    • 18. 03 Synchronizing External Audio

      4:45
    • 19. 04 Multicam

      6:42
    • 20. Making Audio Edits

      4:43
    • 21. Adding Music to Reinforce the Edit

      7:57
    • 22. Using the Inspector for Audio

      7:16
    • 23. Applying Effects

      9:58
    • 24. Using the Inspector for Video

      12:52
    • 25. Transitions

      3:19
    • 26. Using Generators

      1:34
    • 27. Adding Titles

      3:25
    • 28. Working With Themes

      2:20
    • 29. Using Placeholders Effectively

      2:37
    • 30. Retiming

      10:19
    • 31. Freeze Frames

      1:06
    • 32. Working with Images

      4:48
    • 33. Primary Color Corrections

      12:23
    • 34. Working With Photoshop Files

      2:48
    • 35. Secondary Color Corrections

      7:34
    • 36. Sharing Your Work

      5:46
    • 37. 07 Markers and the Timeline Index

      4:10
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About This Class

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This class is perfect for anyone looking to expand their horizons and perhaps break into a new and growing discipline. Final Cut Pro X takes a lot of the former complexities out of video editing, putting a tremendous amount of power into a well-crafted product that anyone can use.

A talented video editor can command between $150 to $350 an hour for their craft and with the wealth of video projects hitting the net (YouTube Channels, Kickstarter videos, and even product reviews on Amazon) you can get in and start working quickly and efficiently.

What You'll Learn

  • The Interface and Your First Cut. We’re going to start with the very basic principles of editing, walk through the interface of Final Cut Pro X, set up our preferences, import our first batch of footage, and compile then refine our rough cut.
  • Adding Personality to Your Story. We'll look at advanced editing techniques, titles, transitions, animations, and sound that's possible from within the app.
  • Your Final Cut and Sharing Your Work. We’ll dive into retiming your footage, the color correcting abilities of Final Cut Pro X, and the various export options available. Three bonus lessons also run through audio synchronizing, multicam clips, and my storytelling process.

What You'll Make

It doesn't matter if you've never touched a video editing program in your life. By the end of the class you’ll be equipped with the knowledge to begin working in this field as an editor or put your newfound superpowers to good use cleaning up those years of family movies you’ve accumulated on your hard drive from your phone or video camera. Side effects of this class include rapidly dwindling hard drive space and the desire to capture everyday moments on video for later editing.

For those already familiar with video editing: many former students who already knew their way around Final Cut Pro 7 or X have said that this class has helped improve their workflow, speed, and efficiency. Add to the fact that you're editing a variety of real-world footage and receiving feedback from your peers, and you have a recipe for success.

Transcripts

1. Trailer: - Hi, - My name's Andrew Gormley. - I'm an Apple certified found, - a Cup pro 10 video editor. - And in this class, - I'd like to teach you the tools and techniques to tell a great story. - This class brings with it a wealth of knowledge for the latest version of Final Cut Pro - version 10.1. - I've had the opportunity to teach this one on one to individuals and even to small - businesses looking to expand their video editing repertoire. - And the one thing that they always come back and tell me, - Is this program for again? - Great. - As for me, - I've been editing video for seven years now, - and I had the good fortune to work with everyone from mom and pop shops around the corner - to Kickstarter entrepreneurs toe multimillion dollar businesses. - I've helped them all tell their stories quickly and concisely using final cut pro 10. - When you start, - you are going to get a wealth of footage that I have shot and we will go through each step - of the editing process so we'll start with importing. - Our media will move on to tagging and organizing. - We will start your rough cut, - refined the rough cut all the way through to what you would call client delivery. - And it's at that point that you'll have all the skills necessary to tell your own great - stories. - This software takes the former complexities out of video editing, - so it's great for people just getting started or seasoned pros looking to make the jump - over into final cut pro 10. - Regardless of where you're coming from, - I do hope you enjoy the class and feel free to get in touch with any questions you might - have. - Thanks a lot. 2. Intro and Housekeeping: - Hello and welcome to Intro to Final Cut Pro 10. - My name is Andrew Gormley, - and over the course of this training, - we're gonna cover all there is to know about organizing, - editing and sharing your work all from within. - Final Cut Pro 10. - We'll be touching on basic and intermediate editing techniques for documentary and - narrative work, - as well as some more advanced features like audio editing and color correction. - This first video is just a little housekeeping to make sure that we're all on the same page - before getting started. - So if you haven't already, - please go ahead and download Final Cut Pro 10. - You can get the trial version from the euro. - You see right in front of you apple dot com slash final Cut Pro Slash trial, - and that will be fully functional for 30 days from the first time you launch it, - or you can get it directly from the Mac App store. - Either version will get the job done. - The trial just has that 30 day time limit. - If we swing down here and take a look at the minimum system requirements, - you'll see that you'll need quite a capable computer, - maybe one that was made within the past few years. - One thing to note, - especially, - is that this version of final cut pro runs exclusively on 10.9 Mavericks. - So you'll want to make sure that you're running that version before getting started. - If you're not, - it's a free upgrade from the Mac App store, - and most Max can actually run it. - But make sure you have a good backup strategy in place if you have to jump from one - operating system to another. - In my experience, - it was a seamless upgrade, - but I know that your mileage may vary. - So once it's installed, - we want to make a quick check that we're all in the same version just one more time. - So after launching the APP, - we want to go up to the menu bar. - Click on about final cut pro right here in this pop up. - Just make sure that you're running at least version 10.1, - though anything later is perfectly acceptable. - You'll see right here I'm actually running 10.1 point one, - which is a bug fix release. - The next thing we want to do is make sure everyone has the final cut, - pro supplemental content installed. - So to see if you already have this, - it's really easy. - I haven't opened down here. - You want to click on this icon for the music and sound browser and make sure that the final - cut Pro Sound Effects folder exists and that there are actually files down in this area. - If you don't see this, - you'll just have to click back up here in the menu bar on Final Cut pro and then choose - Download additional content. - You'll be taken to the Mac App store, - and you'll be able to download some free sound effects and audio presets that you can use - in all of your projects. - After that's installed, - we have one final thing to check, - which is our class footage. - So if you haven't already download the final cut pro 10 training so you can follow along, - it's about a seven gig file. - So depending on your connection, - it could take a while. - But once you have it, - unzip it and open it up and make sure that your folder structure matches mine right here. - If everything is all set, - then we are ready to get started. 3. Footage Download Links: in this video will quickly cover where to access the training files for this class. With some of the recent changes to the skill share interface, it's become difficult to find a place that's both accessible on Lee to enrolled students, yet easy to find without searching through a bunch of old discussion posts, which generally contain outdated information. So with that, one of the main requests was also reduce the file size of the footage download. And I think I've come to a pretty good compromise without losing any of the material for you to be able to edit. I've split the 17 gig file into four pieces that are between one and two gigabytes to mitigate any potential download failures on mostly slower connections. So this allows you to download incrementally without having to reduce the amount of footage I've actually given you. So you still have everything, and it's yours to edit and use. So I'm just gonna show you how to do this really quickly. It's pretty straightforward, but once you have all four files downloaded, all you have to do is just make sure that they're in the same folder, so that could be in your downloads or in this case, I've moved them to a folder on my desktop called Final Cut Pro 10 Training Segments. If I open this up, you'll see that I have all four pieces right here. As long as this is the case, all you have to do is click on final Cut Pro 10 training right here and that old mount as a disk image as normal. You can skip this step because it's not necessary, and then you'll see it appears right in your desktop here. And then you can browse and import the files as normal right through here. So this is just one small change about how to access the actual footage. But everything beyond that stays exactly the same. I hope this helps clear up any confusion and makes the download process a little bit smoother. As always. Please don't hesitate to get in touch with any questions or concerns you might have, so thank you very much for your time, and I will leave the links up for you to be able to type into your browser right now. 4. The FCP X File Structure: The first thing I want to talk about before diving into the application is how it handles and manages your media. So there are a couple terms here. There's first a library and a library contains events. You can think of events as single days or Siris of days of filming. Maybe one thing an event contains projects which are what we use to create our story and the actual media associated with that project. So the things that we actually shot, the audio, the video, things like that a library appears on your hard drive as a single file represented by this icon. This is a lot like how Apple's photo editing software, I photo and Aperture both work. This is pretty great because, say, you're working on a project at home and want to take it with you. You can just drag the entire library file to an external drive, plug it in at home, and then you can continue working right where you left off. This, of course, assumes you are letting final cut pro manager media, which is actually a pretty smart way to work with this new system. You can have multiple libraries open at once or just the one you'd like to work within. This is great if you happen, have a client on site and don't want them to see what else you're working on or just to save yourself from long load times associated with having a huge event or library open. You can see here that I actually have to libraries open alongside of each other. We have the intro to final Cut Pro 10 library, which is currently blank right now because we haven't imported our footage yet. And I have a gear tests and reviews library, which is full of footage I shot where I'm reviewing and testing out a lot of different gear that I use for shooting. You can create open and close libraries all from within the file menu, So if we go up here, we can choose new library, open library and close. We can also simply close the library by right clicking on it and choosing clothes library and it's gone. But the really cool thing is that we can manage all of that before we even launch the application. What I'm gonna do right now is I'm going to close final cut pro and I'm going to click on the icon while holding the option key. You'll see I get this nifty screen that allows me to select one or more of my recently opened libraries. I can also right here, locate one that might be on an external drive. Like I had mentioned earlier. Maybe I brought it home from work, and I can even create a brand new one right here and launch it immediately. That final feature is a great way to save time when kicking off a new project. I've only used it a handful of times, but I absolutely love it. 5. Storyline vs track based editing: so very briefly before we actually dive into the interface, I want to talk about storyline versus track based editing. In most video editing programs, you're gonna be working with track based editing, where you have a theoretical, infinite number of stacked video and audio tracks that will make up your sequence or your project. So when you move around a video, let's say on track to that has no effect on the video of Track Juan or Track three or Track 20. They're completely disconnected from each other. In Final Cut Pro 10 Apple has thrown away that old track model and introduced something called storylines. The primary storyline is where you put the most important parts of your project. Whether that's audio, video pictures, motion graphics, you name it, and from there you can connect secondary storylines or clips to that. So in this model, each clip is attached. It's anchored, actually tow a portion of your primary storyline, and as a result, it moves with it when you reorder your clips. So not only does this reduce the number of out of sync problems you can potentially experience in other editors, but it makes organizing your project incredibly straightforward. You'll see just how powerful this is really shortly. A lot of the things you're gonna learn about editing and this training will carry over into other editing programs like Premier or avid or even light works. But the concept of storylines is completely unique to Final Cut Pro 10. 6. The Interface: - Now that we have all of that information out of the way, - we're finally ready to dive into the interface of Final Cut Pro 10. - Now I have a library loaded up here that's full of events and clips and things like that. - Yours will look a little bit more barren. - It's just easier to show what all these components do when you have some clips in there. - So just follow along for this part, - and soon enough, - your library will look a lot like this one. - So starting in the top left, - this area up here is actually called libraries. - This is new as a final cut pro 10.1 Ah, - library is represented by this little foursquare icon you see right here and here. - You can have multiple libraries open at once or just the one you're currently working - within, - and that's purely personal preference. - To close the library, - you can right click on it and choose clothes library. - You can also select it by clicking on it and then go to the file menu and choose clothes - library. - From here. - I should note that in final cut pro 10 you always have to have one active library. - So if you only have one, - this option will be great out for you. - You can open a new library from the file menu right here, - or create one by choosing new library. - You can also opt to use the recently open list that appears when you right click on the - final cut Pro 10 Doc icon. - So we go down here, - choose that these are your recently opened libraries within a library are events, - and they're represented by this larger single star icon. - Right here. - You can think of events as folders that are used to store both your projects and your media - . - So if we were to click on one here, - here are projects and here are media. - Speaking of which this area is called the media browser. - When you select an event, - all of the projects and clips associated with it appear in this area, - and you're able to easily preview tag and Raith um, - before moving them down into the timeline. - Moving further over the right here is the viewer. - Here's where you see the clips playing and out of the media browser or your timeline. - The timeline is down here and this is where all the magic happens, - you edit and rearrange your clips. - Here you can add titles and audio motion graphics, - basically everything that makes up your story. - And finally, - arguably the most used part of Final Cut is the toolbar, - which runs along the middle. - Right here. - We'll run through it from left to right. - So this first button right here is the unified import window, - and it's usually the first button you press. - When you want to start a new project, - it allows you to ingest all of your media. - So whether that's from a camera from an SD card from a hard drive or maybe even from a tape - if you still shoot on tape, - these next four buttons allow you to rate and tag your media, - which is a huge part of final cut pro tends. - Importing and organizing process will definitely be touching on these very soon. - The next three buttons are for editing clips from your media browser down into the timeline - so you would select something up here. - Then you have a variety of ways to edit it down into your timeline. - The next button that is currently an arrow is actually a bank of tools that you'll - encounter throughout this training that all serve a very specific function. - You can access them by pressing the disclosure triangle right here and selecting a - different tool. - One that's appropriate for what you're actually doing. - In the middle is the dashboard. - Here you'll see the time code of a selected clip in your timeline or the media browser, - whichever one is currently active. - If you click on the green circle right here that's currently labelled 100% you could see - the background tasks Window Final Cut Pro 10 does a great job of abstracting away some - formerly complex procedures like trans coding and rendering, - so you'll rarely have to look at this window. - But if you were to hear your computer's fans kind of kick up and you're like, - Why is this taking a little bit? - You might want to take a look at the background tests window to see what's actually - happening, - and on the right here, - barely visible is a button for you to bring up your audio meters. - So if you click on this, - you'll see that we've brought up some larger audio meters over here to the right of the - timeline again it's personal preference. - Whether you want to use the small ones in the dashboard or bring up these larger ones, - I have a tendency to use the larger ones, - especially when I'm doing like a 5.1 mix. - Moving right along the enhancements menu right here allows you to make quick fixes to a lot - of different shots. - Things like color, - balance and audio issues. - Consumptive times be fixed from within here with just a single click. - The next button is for re timing, - So doing awesome stuff like slow motion speed ramping and hold frames are all handled from - right within here. - The next group of seven buttons are in order effects photos, - music, - transitions, - titles, - generators and themes. - Each one of these has their own dedicated section in a later portion of the training. - The button with the sliders right here brings up your inspector window, - and that allows you to get much more granular information about a selected clip, - either in your media browser or your timeline. - I almost always have the inspector window open because you get a lot of useful things right - here. - You can scale. - You can change the X Y position of your clip. - You can crop and do a lot of interesting things. - Advanced features like color, - correction and also audio if a clip has audio, - are featured in this area as well, - and the final button right there on the far right is the share button for getting your work - out of final cut into a variety of locations, - which will look at very soon. - You might have noticed it, - but hovering over almost every single button brings up a shortcut for that menu. - So if I hover over these, - which which I said were very important, - you see we have Que w and E and a brief description of what the button actually does. - I'm something of a keyboard junkie, - so the first thing I try to do is memorize them or important keyboard shortcuts. - If you only learn, - three of them learn Q, - W and E, - and we'll take a look at that very soon. - Another thing to note is that many parts of the interface have small switches or buttons - that allow you to view things in a slightly different way. - So if I've worked with five other final cut pro 10 editors, - I've seen five unique works based set ups. - So one of the greatest examples is right down here for the timeline. - I can choose how I want to view my clips here. - So if I don't want to see kind of these little thumbnail previews or the audio meters, - I can just click here. - And I'm almost dealing with just kind of tracks. - Some people like their audio to be very prominent. - Some people like their video to be a little bit more prominent. - Like I said, - experiment with this and find out what works for you. - The last thing will touch on is the preferences, - which can be accessed by pressing command com A on your keyboard or by going up and - choosing final cut Pro Preferences. - We'll touch on most of these throughout the later lessons. - But for right now, - I want you to focus on the General tab specifically, - this area right here, - save library backups by selecting this final cut will automatically create backups of your - events every 15 minutes, - which is incredibly handy below that. - You get to choose the location where you'd like to save these two. - Ideally, - you want thes backups on some sort of external drive where your current library doesn't - live. - These libraries air living on my primary hard drive. - So I'm saving these backups to an external drive, - just in case something were to go wrong. - Once you have that done, - you can actually go up to the file menu and open library from back up. - In this case, - this library is pretty new. - But as we go through the training and we allow final cut to make 15 minute incremental - backups, - we'll revisit this and see just how easy it is to restore to a previous point in time. 7. Import Options: - So we have one last step before we actually begin to import our media, - I first want to draw your attention to find a cup, - pretends import preferences and explain each option we're going to encounter in just a - moment. - So what you can do is click on final Cut Pro in the Menu bar and choose preferences or go - command comma. - And I want you to focus your attention on this import tab right here. - So we're just gonna run right down this list so we start off with media storage and we have - two options here. - Copy files into, - and then we can select a library and then leave files in place. - Copy files will always copy your media into the library or folder of your choice on your - Mac, - where final cut can access it. - Doing this almost always ensures that you'll never have to deal with offline media or files - that have been moved to delete it. - Please note that when importing from a card, - final cut will always copy the files to your hard drive. - You simply cannot edit from an SD card. - If you're importing from another hard drive, - however, - you could choose to leave the files in place and manage the manually. - This is purely personal preference. - I will say that from my standpoint, - I almost always copy files into the library that I'm working on. - Moving right down. - We have trans coding with two options here. - Final Cut Pro will allow you to edit files natively from your camera so you can literally - pop in an SD card. - Copy the files over and start working, - but you'll usually take a performance it. - If you do this, - you'll notice on older machines. - Your fans might start to spin up pretty quickly, - and things will get hot. - However, - if you choose to trans code that footage, - which is just a real fancy way of saying change from one format to another, - you'll be able to edit more efficiently in a Kodak that final Cut loves. - So the difference here is create. - Optimized media will create a pro rez for two to H. - Q. - File. - This is an incredibly flexible format for editing and final cut. - Keep in mind that the file sizes are in most cases significantly larger than the originals - , - though create proxy media, - on the other hand, - will create a pro rez for two to proxy file. - Select this option when hard drive space is a concern or if you're running on an older - machine and performance is taking a hit. - Proxy files, - while larger than the originals, - still maintain a pretty decent file size. - Next, - we drop right down to video, - and the 1st 1 is import folders as key work elections. - And this is pretty handy if someone has organized or clips into a series of folders like I - Have for you and you'd like that structure to carry over into the form of final cut - keywords. - For instance, - if you imported a folder called B Roll, - all of the clips in that folder would have the keyword B roll associated with um, - and you'll see this in action in just a moment. - Analysed for balance color is a great way to fix a video if you or your DP has mistakenly - shot a clip with the wrong white balance. - And now things are either a little too blue or a little to read. - If a problem is detected, - final cut will not fix the clip for you, - but it will make available a one click alternative that's mostly effective will touch on - that. - More later, - Find people is a little bit of magic. - To be honest with you, - it will look through your clips and note if there is one person, - two people or a group, - and add keywords accordingly. - It will also go ahead and add framing keywords like close up, - medium shot and wide shot. - It's actually pretty awesome. - Create smart collections after analysis will add all of your analyzed clips into smart - collections to make it easier for you to keep track of them and dropping down to the final - section here for audio, - the first option looks for problems like too much background noise, - hum and loudness issues and then attempts to fix them. - Note that this is different from in video, - where it'll just analyze for balance color. - Here, - we're going to analyze and fix audio problems. - You can always revert all of the fixes that final cut applies, - but do note that it is being applied automatically Should you choose that option. - The 2nd 1 allows you to make changes to your audio channels, - so we'll look into this later when we're editing our audio. - And finally, - if there any silent audio channels which many of you probably won't even run into its MAWR - . - For people that use external recording devices, - you can remove any silent channels. - It doesn't really have too much of an effect on file size, - but it's just one less thing you have to deal with when editing your audio. 8. Importing Footage: - If you want to get serious with a video editing, - a great investment would be a fast external drive. - Thunderbolt USB three or, - if you have an older machine, - FireWire 800. - If you're just getting started, - the internal drive on your computer will work just fine. - For the purposes of these lessons, - though, - the first thing we'll do is create a new library if you don't already have one. - If you already have the default library, - let's name it Intro to Final Cut Pro 10 like I have here. - You can click once on it and then click again, - and that will allow you to rename it. - If you'd like to leave that default library alone, - you can also do that will go up to the file menu. - Choose new library. - You can give it a name and then choose where you'd like to install it. - And then from there you'll be ready to go. - Once this is done, - make sure your library is selected and then we'll bring up the unified import window, - which is right here. - You can also press command I on your keyboard to get to this window, - so the left side of this window lists all of the connected cameras or memory cards, - devices such as hard drives or disk images, - and a list of favorites that you can customize to your heart's content. - In fact, - let's add our movies folder to the sidebar right now. - So to do that, - I'm going to navigate to Macintosh HD users a Gormley. - And then I have my movies folder right here so that to add that to my favorites, - I just right click and I choose add to favorites. - Now I have a one click shortcut to get to that folder whenever I need to selecting a camera - in the left hand column. - In this case I have the SD card from a G H three allows you to view its contents in the - bottom right area. - Right here. - You get a decent amount of information about each clip, - and it allows for easier organization. - And you could even click and drag each column to kind of prioritize what's important to you - . - Clicking on a column header will sort the media buy that property so you can start by a - start or an end time. - You can sort by duration and file type if you shot in a few different file types. - If you see something missing that you'd like, - you can right click and choose from a wide array of properties that will display. - This is all a lot of metadata stuff, - so you might need a more advanced camera for this to be in effect. - But the options are there for you. - Under devices, - you'll see a list of your connected hard drives and any mounted disk images you might have - . - You can use these to navigate into folders just like you would from the Mac Finder. - So the first thing you see right here, - this kind of little vault, - this film shaped vault thing let me expand this a bit. - Here is what's called a camera archive, - and this is a quick and efficient way to make an exact duplicate of a card or drive that - allows you to revisit it later and imported at your leisure. - So I do this all the time. - When I'm shooting on location, - I'm constantly plugging in a card, - creating an archive, - formatting the card and then using it again in a rotation. - It couldn't be simpler either, - so all you have to do is right here you would select your camera and then create an archive - . - It asks you where you like to save it and what you'd like to name it. - You can optionally immediately add this camera archive to your favorites over here, - and it gives you an estimated archive size. - So this is a really quick way to get all of the data off of a card and onto your drive. - Once the archive is on your drive, - you can close this out and this is actually just like browsing a card. - You have your clips here. - It's almost identical to what you see here. - So while we're here, - you see that I have my card selected. - If you drag your mouse over a clip, - you see you get a real time preview of what's happening in that clip. - You can stop the skimmer anywhere on a clip, - press the space bar on your keyboard, - and it'll play from that point in time, - Everyone, - I'm Andrew, - obviously, - and this is intro to Final Cut Pro 10. - Some people, - myself included, - prefer the filmstrip view too easily. - Be able to see a bird's eye view of all your footage so you can select a new entire clip. - This is the filmstrip view, - by the way. - Eso you could see kind of everything that's on the card right now. - So to select an entire clip, - you could see have already done this right here. - You just click on it. - And this yellow border indicates that that clip has been selected to select multiple clips - . - You would just hold down the command key and click on the other ones that you'd like to - import. - If you have none selected and you wanted to select a Siri's, - you can click on the 1st 1 hold, - shift and click on the last one, - and it'll get everything in the middle. - If you're happy with that, - you can press the import selected button on your keyboard. - But there are much more powerful features afoot here. - Final cut allows you to import ranges of clips, - so you just get the best footage to make it easier to organize and reduce your file import - sizes. - So the first thing I'm gonna do is go to appear. - I'm gonna go to Mark, - and I'm going to clear my selected ranges, - which should get rid of all of our yellow outlines. - So skim over any of your clips, - and when you come to a part you'd like to import, - you compress I on your keyboard that will set in in point, - then skim to a point where you'd like to stop impress. - Oh, - which will set, - obviously an outpoint. - You can click and drag on the edges of the range selection toe, - add or remove from the clippers well as you see fit. - This also works if you select an entire clip and then when a scale back from there. - So if I click on this one and I say you know what, - I don't want this beginning part. - I know the good stuff starts about here. - If I skim over to another clip and I hold the command key and then begin to drag out a - range, - you'll see that final cut has maintained my previous range on this clip and added a new one - . - I can add as many ranges to as many clips as I'd like and final cut Will Onley import the - portions of each clip that I've selected? - It's pretty amazing stuff that can save you a ton of time and, - more importantly, - a ton of hard drive space. - So once you've selected your clips, - press the import selected button to bring up a very familiar looking window from top to - bottom. - You can choose to add these clips to an existing event or create a new one and specify what - library to create it in. - Below that, - you'll see all of the options we went over earlier. - Note that the option to leave files in place is grayed out. - This is again because final Cut always copies your media over from cards. - You'll be able to check this option if the videos lived on a separate hard driver disc - image. - If you're importing footage from a DSLR and are using an older machine to edit, - I definitely recommend checking the box next to create optimized media or proxy media. - While final Cut can edit each 0.264 files natively. - It's not ideal, - and you could potentially run into some performance issues as your project Gross. - Click the import button and this window will close and Final Cut Will Import and Transcoder - Media if you selected that option. - I also want to note that importing from a camera archive is an identical workflow toe. - What we just went over. - You have all of the same options in terms of selecting different ranges and different clips - . - And when you press import selected, - you'll get this exact window. - So let's import the clips that I've actually provided to you. - So I'm gonna press escape here to close this window, - and I'm going to navigate to my desktop where I have the final cut Pro 10 training folder. - So we want to do is click on the top folder assets and then hold shift and click on the - last folder. - In this case, - interviews years might be a little bit different. - Maybe yours are organized by name or content created. - Either way, - just make sure all of these air selected and then we're gonna press import all on the - window that appears right here. - Make sure that copy files is selected. - We're gonna move all of these files from our desktop into our final cut pro 10 library. - In this case, - we actually don't need to do any trans coding. - I've already done that. - All of these files that you're gonna be importing our pro rez 4 to 2 proxy files. - I did that to keep the size is a little bit manageable, - so we don't need to check either of those. - One important thing to do, - though, - is make sure that import folders as keyword collections is selected because we're gonna - want all of these folder names to carry over into keyword collections. - Once that's done, - press import, - that window closes, - and we start to see our clips populate right over here. - In our event, - you'll also see right here in the background tests window. - Some things are happening. - We're actually importing our media, - and it's giving us a percentage of completion. - While this is happening, - your media is actually able to be edited. - But once it's all in the library, - then you'll see a huge performance boost. - And once this is complete, - you can feel free to delete the final cut pro 10 training folder off of your desktop or - wherever you had it stored. 9. Organizing Your Footage: - The great thing about the media browser is that since all of your footage is stored in one - central location, - the media in any given event is available for all of your projects. - So, - for instance, - one thing I do is have an event full of B roll from around the city that I have imported - over time as they work on new projects, - I can constantly refer back to my Philadelphia B roll event to pulling clips of people in - places from around the city. - It's incredibly convenient to have a searchable index of everything I've shot right from - within Final Cut Pro 10. - The first thing I'd like to do is give our event a better name. - Yours might be the date that it was created. - In my case, - it was originally default. - Um, - let's just call it Creative mornings pitch. - And to do that, - you would just click on the name right up here and then give it one more click and then you - could type in whatever name you'd like right here. - All of the footage will be working with here was shot in an attempt to bring creative - mornings to Philadelphia. - If you're not familiar with the organization. - I highly recommend you check it out, - but I'm getting off topic here a little bit. - So the filmstrip view right here in the media browser is pretty much identical to the one - we found in the import window. - They're just little graphic representations of the clips and allow you to easily skim - through each to see their contents. - If you drag this duration slider out right here, - each clip will be extended to allow for an even Mawr granular view of their contents. - These frayed edges you see right here indicate that the clip actually drops down to the - next line. - The little toggle switch next to the duration slider allows you to change the clip height - and optionally turn off audio wave forms. - I generally keep the's where they are, - but you may find adjusting one or either suits. - Your preference is better. - Let me set this back to the way we were in the media browser. - You can also adjust how your clips are grouped by clicking on this little gear icon right - here so you can group your clips by content created date, - import it and a lot of other little things here that you might have to fill in yourself. - You can also sort by content created, - name, - take duration and that goes ascending and descending as well. - So now that we have the particulars out of the way, - let's move on to the area where final cut pro 10 really shines. - This is organizing and rating your media. - A key word is in final cut the equivalent of creating a playlist in iTunes and you could - see over here it kind of looks similar. - If you're used to the iTunes interface, - it's basically a simple way to isolate a select few clips from what could potentially be a - massive library. - Clips with keywords apply to them will have a blue bar running across the top. - So you see, - we actually imported thes as keyword collections, - so all of our clips will have ah, - blue bar running across the top. - So how do we apply keywords? - Well, - this couldn't actually be easier. - What I want to do is I'm gonna select the keyword collection for office, - and these were all office shots, - but they're also interiors, - which might be a good thing to group altogether. - So in this case, - when women do is click and drag to select all of these on Bring up my keyword editor right - here and you could see that there already tagged his office. - But I want to tag them also as interiors, - and it's that easy. - So now we have office, - but we can click on the key word collection for interiors, - and those clips match up. - If we take a look at afternoon shots, - maybe morning shots. - We have a couple from next Fab studio. - These air also interiors. - Another way to apply clips to a keyword collection is to select them similarly and drag and - drop them right where we want them to go. - So now will drop them right there. - And when we click on interiors now, - those clips are also in there. - So that's just to really quick ways to get your clips into keyword collections. - Let me bring up the keyword editor one more time to show your really cool feature. - If we take a look at this and hit the Disclosure triangle for keyword shortcuts, - you'll see that we can kind of fill in a few that we have or use on a regular basis. - So for the creative morning shots that fatty ist Zach Sharon main voice over. - I do a lot of weddings and engagements, - so that's a very highly used key word for me. - Interviews. - Jeff Tim. - But we can easily swap these out, - um, - and have double key words that are associated with, - in this case, - controlled to control. - Three. - I can have Jeff and Interiors applied at the same exact time. - And really, - just to do this, - let's see if we press will find a Tim clip here and I will press control for and you'll see - that little key word was just applied to Tim. - And if I click on this, - Tim is right there, - which is pretty handy. - Another great thing for organizing your media is smart keyword collections, - and this is very much like iTunes smart playlists. - It is a way for content to automatically be added without any intervention. - It just has to meet specific criteria. - So if I click on my event again and then I choose the magnifying glass right up here, - this brings up a filter window. - We'll set up to incredibly effective smart key work collections that I use in almost every - project. - So what, - I'm gonna do is uncheck this for text. - We're not looking for text. - What I generally look for is media type is audio only, - and you'll see that it's immediately found in my library where my audio is now. - You'll notice that we already had a keyword collection for audio, - but let's make this one really quick. - I'm gonna name this audio only and note that smart keyword collections are denoted with a - purple icon versus a keyword collection that we've created, - which is blue So audio only We have three files. - Audio. - We only have two. - That's because the way I organized it, - I only had these two in the audio folder. - But there's 1/3 audiophile here in multi cam that we forgot about, - So this one brings it all together automatically. - It can sometimes catch things that we miss one other, - one that I like to use quite a bit. - If we click on this again, - uncheck this we can go to media type is stills and create that and you'll see what it's - done is it's pulled in all of the images that we have these three images right here, - as well as a Photoshopped document that we working with later. - So as if keyword in your clips wasn't enough, - you could take it one step further by actually rating your clips. - This is an incredibly effective but simple way to pare down your footage even further. - So what I'm gonna do is I'm just going to randomly select a few clips here and mark them - his favorites. - It's also like this one, - and you drop right down here and market is a favorite. - You'll notice that's been indicated by having a green line over the top of the clip. - I'm gonna select a range here by pressing I on my keyboard and then moving a little bit and - pressing. - Oh, - and right now I'm gonna press F so that marks. - It is a favorite, - and if I drop down a little bit more, - let's mark this as a favorite. - Also on the flip side, - you can also mark clips as rejected. - So you see this one of Evan right here has already been marked as rejected as indicated by - this red line. - I can go down here and maybe Mark this one is also rejected. - And let's go with this one of the frog right here and say I don't like that one very much. - Now what we can do in our media browser is actually filter those clips out or show only - those clips. - This doesn't even require a smart keyword collection. - We can do it from right here So we could say Haidar rejected clips. - We don't want to see those anymore, - and you'll notice that one of Evan is gone as well as the frog. - What I can also do is show on Lee the favorites. - So now on Lee, - the clips that I've marked as favorites show up here. - In this case, - this is just a portion of a clip that I've marked as my favorite. - One really powerful use case for doing this is if you import directly from your camera - without trans coding, - you can use your media browser to browse your footage, - mark things his favorite or reject it. - And then from this window right here, - just viewing your favorites, - you'd be able to select all these right click and Transcoder media right here. - And this will allow you to trans code on Lee. - Your very favorite clips. - So you're not wasting any hard drive space at all. - This is an incredibly effective way to make sure that you are using your hard drive space - wisely and also not letting your computer turn away at processing. 10. Compiling the Rough Cut: - Now I know you're all getting a bit antsy at this point, - but it's finally time for us to get started with our rough cut. - So the first thing we want to do is create a new project. - We actually don't have a project in here. - This is all just media that we're gonna be working with. - So there are a couple ways to do that. - You can press this button right down here to create a new project. - You can press command end on your keyboard, - or you could go up to file new project whichever way you choose. - Let's do that and you get this little window. - Let's just call the project Rough cut, - since that's exactly what it'll be. - And we want to make sure that it's in the event that we have named over here. - In this case, - Creative mornings pitch will press. - OK, - you'll see that now we have a projects area up here with our rough cut and that it's been - loaded down into the timeline right here, - as indicated by rough Cut. - The first thing we want to do is start looking through our clips for footage we want to use - in this case. - What I want to do is establish a location and a theme before we dive into interview footage - . - So I'm going to look in the afternoon shots keyword collection, - and I think I'm gonna go with these city Hall and parkway shot right here. - Notice. - When I click on it, - the yellow border surrounds it. - This is called the selection range. - You can skim around inside the clip with your mouse to get a feel for this interaction - notice as you drag left to right, - the image is updated in perfect real time. - Now is a good time to discuss the difference between the skipper and the play head. - So the red line that follows your mouse that's the skimmer when you click on a clip in are - the media browser or the timeline that is the play head. - And that's indicated by the small white line just to the right of our current skimmer - position. - In final cut pro 10 the skimmer always takes precedence over the play head. - Any operations you perform from setting in points to trimming final cut will first look for - the skimmer, - and in the absence of that, - it will use the play head. - You already know that you could select a range on import, - and again when tagging and reading your media, - you could do the same here in preparation for editing down to the timeline as well. - You could skim to any point in this clip and press I to set an in point, - skim a little bit further and press Oh to set an outpoint space bar will play the clip from - its current play head position, - and the forward slash key will play your selection from beginning to end. - That's the one right next to the right shift key. - There are few other special options that you could see in view playback as well, - so what you can do is select a few seconds of any of these exterior shots, - and then we're going to drag this clip right down into the timeline. - Next, - I'm going to grab the Art museum back clip from the same cue, - our collection, - this one right here. - But let's edit this down to the timeline in a more efficient way. - You might remember me saying that you should remember three keyboard shortcuts if nothing - else and found a cup pro those air Q W and E. - They are right here. - This one is a connected at it. - This one is an insert edit. - And this one is an append. - What I want to do is take this clip and appended to the end. - So I'm gonna press this button, - notice how it just took the clip and it moved it immediately down into the timeline at the - very end. - Finally, - let's get our first soundbite in place from an interview. - So what I'm gonna do is select the interviews, - keyword collection, - and I'm going to select Jeff too. - And I'm gonna set my in point right at the beginning, - and then I'm gonna skim in about 16 seconds, - and you can see that by looking at the dashboard right in the middle of the toolbar. - So we're right about there at 16 seconds, - and I'm gonna set an outpoint. - Once this is done, - I'm going to actually press E on my keyboard. - And again, - we've made independent at it right there. - Now, - I'm gonna go down to my timeline. - I'm gonna click up here right in the beginning and let's play back what we have so far. - I find Philadelphia to be a city that is constantly inspiring me, - The people here, - the architecture, - the way it's laid out, - the way nature intersects with the urban space and the one Okay, - so we got the gist is not great so far, - but we're getting there. - The one thing I want you to note is that there are a lot of paradigms that carry throughout - Final cut here, - the skimmer and the play head relationship is something you encounter in almost every step - of the process, - from importing to tagging. - To play back to editing selection range is also work identically. - I want to show you a couple cool ways to navigate clips in Final Cut. - While we're down here on the timeline. - The first are the left and right arrows. - So pressing the right or left arrows will actually jump you one frame at a time. - You can notice this in the dashboard were moving in increments of a single frame, - which in this case is 1 24th of a second. - If I hold shift and use the left and right arrow keys, - I jumped 10 frames at a time, - which is pretty handy. - The up and down keys will jump one clip at a time, - and you'll notice that in the viewer we have a little L shaped right in the left corner of - this clip that indicates that were at the beginning of this clip. - If I move one frame over, - you'll see that that little L well, - it's no longer now has shifted to the right hand side, - which indicates that that is the end of this clip. - We can jump to specific time code by pressing control P, - and you'll notice the dashboard has changed. - I could type in 200 and that will jump the play head to exactly two seconds into our - project. - And one thing people ask for a lot is when they click on a clip down here. - They want the play head to jump with it. - That's super easy. - All you want to do is hold option while you click and the play head will jump to the - skimmer position. - I use that pretty frequently, - actually, - so it's a good thing to remember. - If you so choose, - you can turn scrubbing off. - So scrapping is what's happening right now with the skimmer. - As we move over clips, - you could turn that off from right here now you won't actually have the skimmer at all. - You'll see that the skimmer and the play head are one. - I personally love the skimmer. - So I keep that turned on one thing that might actually be turned on for you. - That I hate is audio scrubbing. - And that's this for a really long project, - especially one that has a lot of sound effects and music that gets out of hand really - quickly. - So I tend to turn that off. - So one of the huge selling points of Final Cut Pro 10 is the magnetic timeline, - and a lot of people ask, - Well, - what does that even mean? - Basically, - final cut will prevent a lot of out of sync problems that you might run into by keeping all - of your clips bunched together. - The sounds restrictive, - but it's actually a really great way to work. - So if I were to try to take this Jeff clip and move it later in time, - you'll see it kind of just zips right back to where it waas. - But if I were to take this art museum clip and move this over here, - you'll see that the clips have just rearranged and we haven't lost any time. - There's no gaps here It all it plays seamlessly so I could take any clip I want and move it - anywhere I want. - And the magnetic timeline allows me to rearrange things as I see fit. - We'll definitely be seeing more of this in future videos. - I just wanted to give you a little taste of what you're in for. - So far, - we worked with a pendant, - edits which is e on our keyboard, - and that always adds a clip as the last thing in our storyline. - Now we're gonna work with inserts, - so I want you to place the play head in the middle of any clip. - So let's go with this art museum, - one that's rather long and select any other clip you'd like to use from the media browser. - So I'm gonna go back to my afternoon shots here, - and I like this one of the memorial site. - So I'm gonna select that by clicking on it, - and we're gonna press this middle button right here to perform the actual in it. - So I'm gonna do that right now. - Notice how the original clip has been split down the middle I'm gonna undo that by pressing - command Z and I'm gonna try it a slightly different way. - I'm going to place my skimmer at a different part of the clip. - Notice the play head still right here. - I'm gonna move my skimmer. - And now I'm going to press W on my keyboard. - That's the same exact edit we just made. - But notice that the clip is inserted at the position of the skimmer and not the play head - like we just discussed. - I can't stress enough that this is a super important concept to grasp pretty early when - working with final cut pro 10. - Especially if you're coming from a different editing platform and edit that's related to an - insert is the over right at it. - There's no dedicated button for this, - but you can access it by going to the edit menu and selecting overwrite. - So what I'm gonna do is undo that last thing and I'm gonna select maybe right about here on - my clip and I'm going to choose edit, - and then I'm going to do over right, - which is right here. - You can also press d on your keyboard notice that it didn't actually split the clip in half - but rather overrode it completely to fit the new clip in without changing the duration. - It's it's hard to tell, - so this one ends at 34 seconds. - If we do an insert right now, - we press w we'll see that it's actually extended it. - And now we're ending at 39 seconds. - But the overwrite at it keeps the duration the same. - It basically just overwrites this little bit of the clip right here with our nuclear. - This is kind of a brute force at it. - And I actually recommend using our final type of edit Ah, - connect, - edit in its place, - I'm gonna press command Z to get back to where we were. - So let's add a longer interview clip here to try something new. - I'm gonna go back to my interviews keyword collection. - And let's select Fadi ist too. - Because I remember I like what he said here. - And I'm gonna press e to upend this at it just like that. - This is where we begin to branch upward and outward. - So what I also want to do is select the next Fab O to clip, - and I think that's in morning shots, - right here. - I'm gonna drag this down to the timeline right here, - and I'm going to drop it right about here. - Now notice what happened. - The clip has been added to the fattest clip right above it, - and it's connected with this small bar right here. - These clips are connected. - That's what they're actually called in. - Final cut. - And now they move together and play around with all of the other clips. - I could move this one around independently, - actually. - Just change the volume there. - I could move this one around independently, - but if I move the clip that it's anchored to, - it travels with it. - This is pretty powerful stuff. - In previous versions of Final Cut Adobe Premiere, - Sony Vegas, - many other editors you are editing on tracks like we previously discussed. - Final Cut does away with that. - So you have this concept of story lines, - this very dark grey bar, - you see that runs across the entire length of your project. - That is your primary storyline. - And then a few lessons. - We're going to look at the other types of storylines. - So let's play this back. - This clip of fatty ist right here. - So what I love about Philly is is the diversity and staggering number. - That's not great. - We have this guy Salling right here and we can't really hear 30 ist talking. - We can actually correct this by doing a video on Lee connected at it. - So what I'm gonna do is I'm going to delete this clip, - so just selected and press delete. - It only removes it from our timeline. - It doesn't delete it from appear. - Don't worry. - Now, - back in our bank of edit buttons right here, - let's press this triangle to the right and we'll see that we have the options for all video - only an audio only. - We're gonna choose video only and note the keyboard shortcuts for these. - These air also pretty easy. - Shift one shift to and shift three. - If you learn a second set of keyboard shortcuts, - make it these ones. - So now we'll edit the clip back down. - In this case, - I'm gonna select it again. - And instead of dragging it, - I'm going to press Q to connect it. - Now let's go back and hear what status has to say. - Number of makers, - creators, - thinkers and doers that populate its landscape. - This is already a much more effective edit than our first attempt. - Now there are a couple really cool things that we can do if you recall from importing and - then working in the media browser. - We have range selection, - which is where we said an in point and an out point, - and that is completely applicability to this as well here on the timeline. - So if I'm mousing over right here on the timeline, - I can actually press I to set in in point, - and it will automatically set the out point at the end of the video. - But I could choose if I wanted to to drag this in or maybe drag this out a little bit. - And I've created a range right here. - Let's say that I know Thaddicus has done talking right about here, - and I don't want any more of this clip. - I can actually drag this range to the end and then just press delete and it gets rid of - Onley. - That portion of the clip and the magnetic timeline moves any clips that happened further in - time back in. - There's another tool that will actually allow us to do this as well. - One that editors might actually be familiar with this is the blade tool that appears right - here. - He could press be on your keyboard to access this with the blade tool selected, - and you'll notice that the icon of the skimmers changed to a little razor blade. - I can click anywhere I want and make a cut right now. - That's actually what's known as a through edit, - and that's represented by a dashed line using the blade on a single clip. - It's different from this. - You'll notice this is to separate clips right here. - But this is a dash line, - which means that we've made a cut on the same clip. - If we've done this by mistake, - we can switch back over to our select tool or by pressing a and R keyboard, - select the threw at it and then press delete, - and it gets rid of it and restores the clip to its full length. - Alternately, - I'm gonna press B, - choose the blade right here, - and I can delete this second half of the Jeff clip. - Finally, - one hugely important thing to know when editing is the trim clip functionality, - and this is a keyboard shortcut that again I know I'm piling them on thick, - but one that's definitely worth knowing. - So on your keyboard you would press option and then left bracket or right bracket. - So from here, - if I select right here and I choose option right bracket, - it gets rid of everything on this clip from the skimmer to the right. - I'm gonna undo that. - If I press option left bracket, - it gets rid of everything in that clip from the skimmer or play head to the left. - That's just a super fast way to pare down your footage. - And that's what final cut is all about. - Getting the edit done faster. - Finally, - we're going to wrap this lesson up by discussing the various replace options that final cut - pro 10 has. - Sometimes you'll have a clip on the timeline that you really think doesn't quite fit and - you'd like to replace it. - And there are a number of ways to do that. - You could delete it, - then this drop something else down. - But if you have it, - sink up to music or you have some sound effects in place, - you might not want to lose that timing that you've created. - Final Cut allows you to do that super quickly. - This art museum one I've decided that I really don't like that too much and I'd like to - replace it. - Well, - one thing I can do is select the clip up top that I'd like to replace it with. - Let's go with this one right here. - I'm gonna drag this down over the clip and then I'm going to release my mouse and we have - several different replace options right here. - The 1st 1 is a simple replace. - If I choose this one, - the clip is replaced. - I'm gonna undo that. - Let's choose a clip that's a little bit longer this time. - Maybe this one will work. - I'm gonna drag this down. - See, - there's the clip size right there. - So it is a little bit longer. - I'm gonna drag this down and let go, - and I'm going to choose replace from start notice that it replaced the clip. - And even though this one was longer it on Lee filled the time necessary to replace the - original clip. - And that's actually indicated right here by this orange bar. - This tells us how much of the clip is actually in use on our time line. - I'm going to undo that one more time and drag this clip back down now that was replaced - from start. - We can also replace from end which will start at the end of the clip and work its way from - right to left. - Same thing. - The timing of it doesn't change, - but we've just replaced it with a different portion of a different clip. - We can replace with three time to fit, - which will allow this longer clip to run its entirety in a shorter amount of time. - So if I do that, - you'll see that we've had to speed this clip up 137%. - But we do see the whole clip. - And for something like a pan, - that's not too bad. - I'm going to undo that one more time. - I'll drag this clip back down. - Now, - the final one is one of the coolest features, - and this is one that might make you go. - Wow, - this is great. - So I'm going to replace an ad toe audition and you'll see that the replace has been done - and we're not really sure what happened. - But this icon right here changed and another thing I'm gonna do is maybe take this clip. - It was set in, - in, - in and out and it will drag that down and I will choose. - Add to audition and you'll see nothing changed there. - And maybe we'll take this one of Geno's and it will drag this down, - and I will also add to audition. - Now, - basically, - what we've done here is we've created an audition clip, - which is a very powerful and quick way toe. - Let us switch between a couple different options. - If I click on this little spotlight right here, - it brings up all the clips in our audition. - This is the one that's currently selected. - If I wanted to try the back of the art museum again, - I simply click on that and you'll see that in the timeline that has been updated with this - clip. - I can also go over here. - Maybe I choose the Gino's clip and again that has been updated to fit or the Kimmel Center - and that has been updated to fit. - When I'm happy with what I've chosen, - I just press done and it's over, - and I've created an audition. - These are just a few of the incredibly powerful trimming techniques that are available to - you in final cut pro 10 11. Advanced Trimming Techniques: refining your story with advanced trimming will lie to really set a pace that makes people want to watch more of your video in the lesson. On compiling your rough cut, we looked at various ways to trim replace an audition. Your clips here will go into much finer detail when cutting your footage. But first, what I want to show you is another keyboard shortcut. That's incredibly handy surprise. Surprise. So you see that our timeline right here we're using about 45 seconds of footage, but we're looking at about 3.5 minutes of timeline. Well, that's a little inefficient, isn't it? So what we can actually do is press shift Z to zoom in on these clips. This gives us a better look at the audio way forms and a more granular view of what's actually happening inside the clips. You see, we are still at the 45 2nd point. We've just gotten closer to the clips. You can also use this zoom scrubber right here to Seymour or less of your clips, depending on how much you actually have their shift. Z, however, will always fit your entire storyline into the view one other thing I want to do is I want to finalize this audition that we've created. You might not have won, but I'd like to show you how to do that. You would right click, and in the audition menu, you could choose Finalize Audition. This is a personal preference, but generally what I like to do is when I found a clip that works, I want to stick with it. So finalizing the audition will remove all of the other clips associated with it and just pop this one right in the timeline. There are no adverse side effects to keeping auditions in your timeline. This is just a personal preference, so the first thing I want to touch on is frame precision editing. So when you place your mouse at the beginning or an end of a clip, you get a contextual menu that allows you to trim that clip. We can add or remove from a clip, and what this is called is a ripple at it. A ripple edit affects a single clips in or out point and adjust the other clips around it to fit notice during a ripple ended up in the viewer where we have a nice to up display on Lee. One of the two frames is actually changing. In this case, Onley fattest is changing. Jeff is not taking this technique one step further. You can select the beginning or end of a clip by clicking on it, so in this case, the fattest want to select it. Let's go to Jeff here and click right here. You'll see that it will either turn red if there's no more media to the left or yellow. If there's a little bit more for us to work with, I can actually use the period key to move forward one frame, trim one frame off at a time and you'll see we're doing that. And that selection turned from red to yellow, which indicates that there is more material that we can cut into on the left side. So if I could press comma, I'll go back until it turns red again. Right there. Also again, just like moving around clips with the left and right arrows. I can hold shift and then press period to move 10 frames at a time or shift comma to move 10 frames. In the past, where this gets even cooler is with audio. So the first thing you want to do is edit some audio down to the timeline. So what we can do is do an audio Onley edit. So I'm gonna go to this Kimmel Center clip right here. I'm gonna press the up arrow to get to the very beginning of this clip. So I know that I'm right at the beginning. I'm gonna go to my interview footage and let's select Evan, too. And I'm just going to select the whole clip. And right here, I'm going to choose audio only. And with this clip still selected, I'm going to press Q on my keyboard and you'll see what it's done is it's actually connected the audio below our primary storyline. But it maintains the same name. Evan Malone to Evan Malone, too. So once you've done this, click once to select the entire clip and then press option and comma. Nothing moved, right? Well, actually, if we zoom in in the beginning of this clip really, really far, I mean really far. And try it again. Option? No, no. If you could see what's happening here, we're actually moving a fraction of a frame by doing this 1/80 to be exact. The light grey portion that comes right after the play head is exactly one frame, So see how small were actually moving the increments here For the audio, Having this level of control over our audio is incredible. So if you press option shift period, you'll move 1/8 of a frame, which is significantly Maurin comparison, but still provides an incredible amount of precision for lining up your tracks. 12. Editing Preferences: in the next series of videos, we're going to dive deeper into editing, trimming, adding effects and much more so it's a good idea toe. Look back into our final cut preferences to go over some more settings, press command comma to bring up your preferences and make sure the editing tab is selected . We're just gonna run down these very briefly like we have in the past with General and import in the Timeline group. The first option will provide a nice to up display when making some of the advanced edits will be looking at in just a moment. So definitely keep that checked. The next option determines the position of the play head after you make an edit operation like the ones we just went over Connect, insert or a pent With this checked, the play head will always jump to the end of the most recent edit, and I generally keep this checked. The inspector unit is pixels. You can also measure this in percentages. I prefer pixels. That's mainly hell. Video is measured. So again, that's a personal preference. Pixels might be a little bit easier if you're just getting started. We have one option an audio titled Show Reference Way Forms and what they are are the little phantom way forms you see behind the rial one. So if you look in real close down here on this clip, we have these kind of, like I said, phantom wave forms behind the real ones. You can think of these mainly as a visual aid to help you find particularly loud portions of clips. Even if you've lowered the volume, I find them handy, so I keep this enabled. Next up is still image duration, and that's exactly what it sounds like when you edit a still image down to the timeline. How long should it's dif alteration be? I find myself changing this one all the time, depending on a project. If I'm putting together a slide show sometimes. Well, no. I only want to see each image for four seconds. Or maybe this time I'd like to paint across a very large panorama, so we might want to do 10 seconds. Finally, we have transition duration In later lessons will be applying a lot of transitions to our clips to smooth things out, ad pacing and much more so this will determine the default length of these transitions and generally one second is a good starting point, will be able to edit them to whatever we want after the fact, but let's start off with one. 13. Quick Sharing Your Project: - we're actually finished up with this first set of lessons. - I know that the beginning of it was a lot of conceptual stuff. - And then towards the end, - I piled on all of the's trimming techniques for the compiling the rough cut part. - But now I want to touch on just very briefly how you'll be able to share this work with me - so that I can see what you're doing and answer any questions you might have. - We're gonna touch on sharing in much greater detail at the very end, - obviously. - But here's just a very quick way to get started with that so you can get some files to me. - So what you want to do is actually click on the share button right over here and you'll see - that we have some really quick links to get our video to a variety of sources. - Yours might not match up exactly with mine right here, - but we have YouTube, - vimeo, - Facebook, - weaken, - say, - frames. - These air to that I have created that are custom for the kind of work that I do. - This one right here is how I exported all the files that you are currently editing with its - pro rez proxy. - Let's add a new one that's custom for the work will be doing. - You see in the right here we have a ton of destinations that we can choose from. - In this case, - we just want to do a simple export file. - From here. - We could choose a format and under format. - We can actually choose publishing so you can say Apple devices Computer Web hosting. - In this case, - let's go with Web hosting for our video. - Kodak we can basically choose. - It's the same Kodak we could do faster encode, - and you'd have a quick time movie, - which is multi pass. - If he change our publishing options here, - you'll see that this is usually faster. - Better in general. - I'll just go with faster for this stuff. - We can change our resolution here by default. - It's set to 1920 by 10 80 which is the resolution of our timeline. - The audio file format will always be a A C, - which is what iTunes uses very high quality stuff. - We don't need to include chapter markers until later. - We won't be using those, - and then finally, - you can choose to open it with something by default. - So after it finishes and coding, - you can open it up to check it out in quick time. - If you like, - we'll leave that one set up. - Once that's done, - you close your preferences, - go back to the share button and choose the one that we just created export file here. - You could see we could skim over our project to see it from start to finish. - Right here we have a little bit of information that runs along the bottom resolution, - frame rate, - audio information, - total duration and what the output format will be. - If you mouse over this, - you'll see what it actually will run on. - In this case, - it's just a Mac. - That's not necessarily true. - I'm sure these videos will play back on PCs as well, - and then the estimated file size we can rename by clicking right here and doing so, - saying with the description, - Creator and tags. - If we flip over here to settings, - we can actually change our format right here. - So if we wanted to go with Apple devices instead, - you could see that the file sizes updated as well as the file type. - We can go with maybe better quality Let's drop the resolution down. - You see again the file size updates in real time, - as did the resolution right here. - Let's stick with computer and faster in code, - and this should play back on a PC and a Mac. - We'll keep our resolution in 1920 by 10 80. - And once you're done, - you press next, - you choose where you'd like to save it to. - In this case, - it's in my training folder right here. - Press save final cut will close all these windows. - You can continue editing if you like, - and it will just export in the background couldn't be easier. 14. Ripple, Roll, Slip, and Slide: The first thing I want to do before moving forward is clean up the timeline a little bit. So I'm gonna get rid of this Evan clip right here. This audio only edit and then press shift. Easy to get a slightly zoomed. In view of our timeline, that's better. Now the best thing about the tools and final cut is that they are almost all multipurpose. You saw that we were able to trim just using our default selection tool by contextually placing it at the beginning of a clip and pulling alternately. We could also set our skim or somewhere right here, press I and then press. Oh, that's usually a job reserved for the range selection tool, but we were able to do it with our default selectable. The trim tool which will be looking at here is actually four tools and one depending on where you place your mouse. Contextually. The 1st 1 ripple is what we've already looked at. The next one is role, so we want to select our trim tool from up here. You could press t on your keyboard to get to this. And just to recap what a ripple is, it's this one where you get close to the beginning. Click and drag notice the filmstrip view points in the direction that you're cutting from. So in this case, the filmstrip is pointing to the right. If we put it right over here and click, the filmstrip is pointing to the left and will be removing from the end. I'm gonna zoom in a little bit by pressing command plus on my keyboard. Now, if we place the trim tool between two clips, you'll see that the filmstrip points in both directions. If you click and drag here, you'll see that we are, in essence, moving the edit point back and forth. We can add mawr to the clip on the left by removing frames from the clip on the right and vice versa. The number displayed above shows you precisely how many frames were added or removed during this edit. So if I leave it right here, I've added 13 frames. If I put it right here, I have subtracted 12. I'm gonna press shift Z again to zoom back out. The next edit is a slip edit, and a great way to see how this actually works is by adjusting the view preferences and going into video on Lee mode. So we'll hide the audio for a moment. You do that from down here and then select video on Lee. And another thing I'm going to do with this Jeff clip as I'm going to use option left bracket to cut off a little bit of the beginning and option right bracket to cut off a little bit of the end. Great. This is exactly the size we want it to be. This is called a slip edit. When you have a relatively small portion of a clip with a lot to work with on either side, you can actually click in the middle and dragged back and forth. So what we're doing here is maintaining the exact same duration while moving around the contents of the clip itself. In our viewer, the picture on the Left represents the new starting frame, while the picture on the right represents our new ending frame. Pretty neat stuff. Let's switch back to audio and video of you just so we don't forget the next that it is a slide edit, and it's similar in nature to the slip. But it has its own little pros and cons, so it again allows you to maintain the clips duration while changing its position on the timeline. So if you hover over the clip in your timeline and you hold the option key, then click and drag. You'll notice that the clip maintains its exact same duration. But we're moving it along the timeline and affecting the clips to the left and the right of it. I usually use this kind of edit for event recaps where the underlying audio is just music. Obviously, it won't work too well for interview clips because you'd be cutting into what the next person is saying. The final type of edit is pretty incredible. It brings all of them together, and it's one that I movie folks might recognize because that's where it originated. It's called the Precision editor, and the precision editor really brings together just every single piece visually, so you can see what's happening to the clips. So to open the Precision editor, you would just double click between two clips you want to edit and you get this view So the outgoing clip and everything that proceeds it will be on the top line and the incoming clip and everything that comes after it will be on the bottom so you can click on this top clip and drag around, and this is basically a ripple edit, and the same is true down here. Anything that you are not using appears slightly dimmer on these little timelines right here. You can also grab the great tab in the middle and drag around to perform a rolling at it, which is pretty awesome to preview the new edit. You just have your cursor right here in the middle and press the space bar. The, uh, not a great edit, but you can see how that would come in handy. All of the other small grey notches that you see right here, right here and right here represent all of your other edit points on the timeline without even exiting the precision editor. You can reach them by using up and down arrow keys on your keyboard. So I've gone to that one, this one, this one so forth and so on. Once you're done with your edit, you just double click right here in the middle and the precision editor closes. Tell me that's not one of the coolest things you've ever seen. 15. Storylines: - we very briefly touched on the concept of the primary storyline in a few videos throughout - this training so far, - and how that differs from track based editing. - Everything we've done thus far is actually part of the primary storyline. - Even are connected clips. - Final Cut Pro also has what are known as secondary story lines, - which are an easy way to test out two or more clips and control them as a unit as opposed - to a whole slew of connected clips. - So what you see right here is something that I threw together as my rough cut. - It's just a little bit of interview footage sprinkled with a few connected clips that back - up what's being said. - I recommend you do something similar, - have a few connected clips to maybe an interview or the voiceover or anything that you'd - like to do. - And once you've done that, - let's take a look at how this works, - so I can actually move this clip individually and move it over here. - It has no effect on this clip right here, - and the same is true for that one. - So these clips can live independently and move independently of each other. - The problem is that if I put them back together and I grab my trim tool, - I actually can't do some of the really cool edits between these clips that I'd like to dio - maybe a rolling at it. - For instance, - I can ripple on both sides, - but I'll always have this gap because they're anchored right here, - which is not really great. - I could also select all these clips and move them as a group. - But again, - you're lacking some of those features that you get when you have them on the primary - storyline. - So I'm gonna put them back where they were. - The way to solve this is to toss them into a secondary story line, - and it's really super easy to do that. - Select all the clips again, - and then just press command G. - You'll notice that the clips are now wrapped in what final cut calls a shelf, - which is this gray surrounding box right here. - Notice also that this storyline is connected at one point, - as opposed to the three unique points of the original clips. - It's just connected right here. - If you click on the shelf, - you can move all of the clips within it as one just like this. - You can now also perform all of the great trims we just talked about to the clips in the - secondary storyline. - So if I bring my tool to trim tool right here, - I click in between two clips I can now do rolling at it. - The magnetic timeline also applies to secondary storylines so I can move off these clips - around and not have to worry about duration changes just like that. - So I'm gonna take this entire secondary storyline, - move it to the beginning here and play it back. - I find Philadelphia to be a city that is constantly inspiring me, - the people here, - the architecture, - the way it's laid out. - I want that to match up when he says the people, - I want to see the people And when he says the architecture, - I want to see the art museum here. - So let's see. - But also to be a city that is constantly inspiring me, - that people right about here, - he says. - The people notice that with a ripple edit, - I've extended the length of the secondary storyline as well, - which is something you can do very easily here, - and the clips to the right, - Just move later in time, - constantly inspiring me that people hear the architecture. - Now that's pretty short. - So we're just going to do a real quick cut here. - But if I ripple this way to about here, - the architecture constantly inspiring me, - the people here, - the architecture, - the way it's laid out, - not bad. 16. Compound Clips: - compound clips or something. - I use all the time when I know that a particular segment of something I'm editing is done, - and I want less clutter on my timeline. - The best way to talk about it is to first illustrate it. - So select all of what you've edited so far by pressing command. - A. - You should see yellow outlines around everything and then right click on any clip and - choose new compound clip. - Give it a name. - I'll just call mine first part and then press return. - Two awesome things just happened here. - I know it only looks like one, - but two things did. - Firstly, - the contents of our timeline, - no matter how complex, - have been collapsed down into a single clip. - It doesn't matter how many secondary storylines how Maney connected clips, - how many pieces of audio you had. - It's all collapsed down into a single clip. - Secondly, - that single clip now exists in our media browser and can be added back to this or any other - project freely. - You see, - it lives right here, - actually, - first part, - that's what we named it. - And there it is. - A compound clip is indicated by this little icon in the upper left hand corner to edit the - contents of a compound clip, - you can double click on it. - Doing this takes you to a sub timeline, - where you can see all of the clips we just compounded in their original positions. - You'll know that you're in a sub timeline by the breadcrumbs right here. - So this is our event Creative mornings pitch and were in the compound clip named First Part - . - You can move around or edit the contents of a compound clip just like you would on a - storyline, - though note that you can't extend it past the bounds right here. - To revert back to a series of clips from a compound clip will just use this arrow right - here to go back to our main story line, - select the clip, - go to the clip menu up here and choose break apart clip items. - And just like that, - we're back where we started, - though you should note that the compound clip we created still exists in our media browser - until we actually delete it. - It's right here. - Let's undo that. - So our compound clip is back together again, - though, - so I like to edit things in pieces and then in the end, - bring them all together as a cohesive whole. - So compound clips or an awesome way to make this happen. - But sometimes you'd like a visual indicator of where your brakes are, - and that's where Gap clips come into play. - Let's say that after our compound clip, - I'd like to start working on something else. - May be totally unrelated, - so I'll start editing down my next interview clip, - which might might be a long one. - Maybe we go with this fattest clip right here, - and I'll just press e to upend this to our timeline. - Now press shift Z to get a better look at things. - Now we noticed that here's my compound clip and here's where I'm starting on may be the - second portion of my story. - Now I realize I might like a little bit of breathing room to separate, - so I know exactly where these two things stop and start so normally, - what you could do in another N. - L. - E Nonlinear editor is just dragged this clip over here, - but we remember that final cut has the magnetic timelines. - So no love there. - There's no way to get this to kind of hang out over here to give myself a visual indicator - of when the first part ends and the second part starts. - This is where Gap collapse come into play and the position tool. - So from the Tools menu, - select the position tool. - It looks strikingly similar to the select tool, - but it doesn't have that little tail now with the position tool. - When I click and drag, - I'm actually creating what's called a gap clip. - This is a super effective way to separate your timeline into ideas before bringing it all - together. - You can also add a gap clip at the position of your play head or skimmer by going to edit - insert generator gap. - Gap clips work literally, - just like every other clip we have in our timeline. - If I switch back to my select tool, - I can select it. - I can trim it down, - I can replace it, - and I can delete it. - Sometimes when you're missing that one magic clip while editing, - you can toss a gap clip in to keep the pacing right and then come back to do a replace at - it later in the project. - Gap clips are actually transparent, - so when you mouse over them you'll see that they just display is black or whatever you have - your player background set to in the preferences when they're in a secondary story line or - a connected compound clip will just reveal whatever is beneath them. - Another cool feature of Gap clips you can use while editing is removing a clip and leaving - a gap in its place. - This is super easy and actually just requires pressing an extra button. - So let me add a couple other shots here to the end to show you what I'm so art Museum steps - , - memorial site and the fountain. - So these air relatively short clips. - If I wanted to remove this one in the metal but leave a gap clip in its place, - I'll just select it. - Hold shift and press delete. - The timing stays the same. - I haven't affected the clip on the left of the right, - and I can edit, - trim or replace it later. 17. Backing Up and Autosaving: you may have noticed that you've never actually saved your project and final cut pro thus far. That's because final Cut is constantly saving every change you make to the disc while you're making them this way in the event of a crash or a hard drive failure, which is something that I have actually experienced several times, you will never find yourself too far behind. I can't tell you how many times I was editing and final cut pro seven, sometimes for hours without saving my work. Veronica Pro seven did have an auto safe feature set up for every 30 minutes, but that's still a pretty significant amount of time toe lose on a project, especially if a deadline is looming beyond the crash. Protection we just talked about another pro is that final cut allows an almost infinite number of undoes. So if you want to revert to how things were before this edit, you can do so simply by pressing Command Z until you're where you want to be. The downside to this behavior is that if you want to quickly try out an effect or a narrative that you're not sure you want to keep It could be very difficult or time consuming to undo tens and hundreds of edits to get back to your starting point. It's with this in mind that I recommend a tried and tested final cut Pro 10 Project management system duplication. That's right. Click on our current project, the Rough Cut and choose duplicate. You'll see a new project is created with the number one upended. You can rename it if you like, or just keep going. Along this way, you may have noticed there was another option called duplicate Project a snapshot. The distinction is small but incredibly useful when working on a project that has compound or multi cam clips, which both of our projects currently do. Any changes you make will flow down toe all projects using those clips. Choosing duplicate project. A snapshot allows you to make singular adjustments to compound or multi cam clips in that project only. This is because Final Cut will actually create brand new versions of each clip and automatically referenced those as opposed to the originals. I'm gonna show you this right now so you see exactly what I'm talking about. So we have our duplicated project and what I want to do here is I want to go in and make an adjustment to our compound clip, so I'm gonna double click on it. And for this Jeff stuff I'm going to put in effect, let's put the black and white effect on there. So now Jeff is black and white. I'm gonna go back out and you see we're in rough cut one going to switch over to rough cut and notice that right here. Jeff is in black and white, so from here, I can actually make the change back. I could select this clip over here, and I could toggle open my inspector and remove the black and white filter right here. And that will filter back over the rough cut one now will duplicate as a snapshot and make a change. So I'm gonna go back to a rough cut and I'm gonna duplicate project as snapshot. You'll see it calls it snapshot, and it gives you the date when it was actually created. So let me open this one, and right here I'll do the same thing. I'll select this Jeff clip and I will open up the effects panel and let's put on a tent just like that. Now, if I click on Rough Cut, you'll see that that 10 is not present on this Jeff clip. It's isolated just to our snapshot. This is incredibly handy, especially for multi cam shoots, where you want to experiment with a bit of color correction or effects without having to undo 10 or 20 times to get back to your original look. While we're here and we were playing around in the Inspector, I'd like to show you how to look at all of your project specifics. So let's toggle open the inspector again. You could press command four on your keyboard. If you are like myself and with a project selected in the library, it doesn't matter if you're using a duplicate or a snapshot. Just make sure that it's selected right up here. We go to info over here in the Inspector. So what this is is a brief overview of our project properties. This window gives you all the information you need at a glance. For any given project, we have resolution frame rate, the current running time, as well as the audio mix and sample rate. You can add searchable project notes right here. If you want. By clicking on the modify settings button, you'll see a window similar to the Create New Project Window. Here you can change the name timecode and video and audio settings. I really don't recommend doing this unless it's absolutely necessary, but it is available to you if you need to do so. 18. 03 Synchronizing External Audio: If you've recorded external audio in addition to sound from the camera, you'll probably want to sink those up later for easy editing in previous systems, this kind of operation would require an external plug in usually pretty costly or an incredible offensive detail while lining up way forms. Which is horrible because I've done that. The most practical application for something like this would be using a shotgun microphone on the camera to capture the talent's voice as well as a little bit of the room tone and then using an external recorder hooked up to a level ear mic to get a much clearer copy of just their voice in Final Cut Pro 10. Synchronizing these clips could not be easier. The first thing we want to do since this lesson will lead right into the next one on multi cam clips is create a new project for this. So I'm gonna press command n on my keyboard and I'm gonna give it a name. Let's say multi cam and sink, and then I'm gonna press return. One thing I'd like to demonstrate also is so we've loaded up our project right down here in our timeline and it appears up here under projects, much like our media, we can actually keyword our projects as well, so we know that this is multi cam and I already have a multi cam keyword collection. So what I'm gonna do is click and drag this over and drop it into multi cam. You'll see that the project actually has this little key right here, which lets us know that it's been key worded. And when I click on the collection, it appears right here at the top, which is pretty cool. It's just a way to further organize all of your media into smaller, smaller bins. So right here I have footage from three different cameras, and I have external audio that I've recorded, just like I had described to you. So if I play this back for a second Hi, my name's Andrew Gormley. I'm an apple certified. You can hear that the audio that came directly from the camera was a little bit low. It was also a little tinny, but if we listen to the external audio that I captured with a lovelier with it, a wealth of knowledge for the latest version of final cut pro version 10.1. That sounds much better. So what we want to do is sink up the footage from this camera with this audio and I'm gonna show you how to do this. And you're not gonna believe me that it's this easy, but it ISS so I'm just gonna click and drag to select both of these. I'm going to right click, and I'm going to check synchronize clips. We open up our background tasks window right here. We'll see that some stuff is happening. Some trance coding and analysis, and it's done. But where is it? Well, what actually happened was these air all keyword eclipse the new one that we've created? The synchronized clip is not yet keyword it. So if I go back to the event and I take a look around here is my a cam synchronized clip. I'm going to select this and press E to edit it down to the timeline. Now we have it all right here. I'm gonna click on it, and I'm gonna swing over to the inspector to show you what's happening. We want to click on the tab for audio, and if we notice right here, we have two channels here storyline and connected. So here we have the internal audio, which, as you could see, is pretty low. If I play this back, you can play this back right here by pressing the space bar and I'll go down. And I was press space bar right here. Camera were using the camera audio from that one. And I have a field. That's great. So what we want to do is actually disable the lower audio. So I'm just gonna check this box right here and now it won't play back that lower audio. It will Onley playback the higher quality Lava Lear audio. So if we swing down to our timeline and play this back bill from that one and I have a field recorder with XLR out to this level ear microphone, right, right here, it's that easy to prove that it's that easy. I'll just show you I will uncheck this one and check that you could see that immediately. The way forms down here are much smaller and there's our camera audio, so we don't want to use that, But it's a simple as uncheck ing that and choosing your external audio that is how you synchronize any adjustments we make up here to the volume in the pan will apply to both of these. But with this disabled, we don't have to worry about it. Generally, I'll choose a pan mode of dialogue and we might want to bring the volume up a little bit. But for the most part, this was recorded pretty clean. There's not too much editing that has to be done here. 19. 04 Multicam: moving right along from sinking audio will go right into multi cam clips here. So there will be times when you get footage shot from a wide variety of cameras, all the various angles and maybe even with multiple versions of audio. So this is where multi cam clips come into play. Final cut Pro. Since introducing this feature way back in, Version five has widely been regarded as the best multi cam editor on the market. So the first thing I want to do is I want to get rid of our synchronised audio clip from the timeline it saved up in our media browser. If we need to reference it again, so let's not worry about that. I'm just gonna press delete here and let's go into our multi cam keyword collection to see what we have, so that's horrifying. So we have our a cam R B cam and R C cam, which is kind of a short clip that I shot on my iPhone just to show you how easy it is to throw a new camera into this equation. And of course, we have our external audio, which is the high quality stuff we want to use. This is actually just a ZZ as creating a synchronised audio clip. We're going to select all of these right click and then choose new multi cam clip. We give it a name. So in this case, I'll say intra video, and we want to use audio for synchronization here, since we have pretty good sound from all of our sources, if we drop down to use custom settings, we have a lot of other stuff that we can choose from here. But I won't touch on any of that. If you know that maybe you are using time code, you can choose to do that. Here you can choose clip ordering. This is something that you can certainly explore on your own. But final cut does a great job when you're just using the automatic settings, so press okay. When you're ready, you get this progress bar as it kind of determines how to sink everything up. But it's relatively straightforward. Once that's done, you actually see that are multi cam. Clip now appears in our media browser. If we open up our background tasks window, we'll see that some trance coating is actually happening right now. all of the media that we add to a compound clip will actually be trans coded into pro GREss proxy so that it can all be played back at once. I believe you can have up to 64 different clips playing simultaneously in a compound clip, which is pretty astounding. But to do that, you need to have it in a format that final cut likes. We'll just wait for this to finish out, and I will jump ahead to win. It's actually done. Okay, Now that that's done, we can close the background tasks window, and we have our clip right over here. So I'm just gonna select it and press E to edit it down to the primary storyline Now, Right now, this looks just kind of like a normal clip. But of course, you may have noticed that we have this icon right here, which indicates that it is indeed a multi cam clip. If we right click on it, we can actually choose our active video angle, which is our default video angle as well as our active audio angle. In this case, I want to change this toe external audio. You could see that immediately reflected in the way forms. We get that higher quality audio right from the lava Lear Mike, the next thing I want to do is trim off the beginning in the end right here, because we have some disparity between when each clip actually starts. So let's start this right about here. I'm gonna press option left bracket to cut off all of the beginning part and I'll go to the end and I'll do the same. I will go right about here and it'll do option right bracket to cut off everything from there. Over. That's perfect. Now I'm gonna press ship Z. So the next thing I want to do is I'm gonna close my inspector over here, and then I'm going to go upto window viewer display show angles. You can also press shift command seven to bring this window up. Now, we have a couple settings here that I want to talk about. So right here we have all of our clips. A camp be cam, See cam and external audio. You can click right up here in the right hand side to choose how many angles you want to display simultaneously. If you're only working with to you could just display to If you are working with mawr, say nine or 16 You could certainly go that way. We can actually choose 16 and then have a bunch of blank ones underneath. But for our purposes, four works out great in the top, right? We have a couple different ways we can edit our footage right here. We have video and audio switching video on Lee switching and audio only switching since we have dedicated audio that we always want to use. And we only want to cut between the video this middle one video on Lee switching is the way we want to go. So I'm just gonna show you very quickly how easy it is to make this multi cam clip come together. I'm going to move forward a little bit in our timeline. Eventually you'll see camera see pops up when I reach for my phone. There we go. So we have all of our angles together. So if I were to do this and just start the playback, all you have to do while the video is playing back is click on the angle that you'd like to switch to so I'm going to do that right now. Live for you. I'll open up the iPhone thing here and see what we can see. So just to show how easy it is, always landscape folks never portrait. I don't want to hear about that. So let's see. No, doesn't like me. Okay, so we're recording on here too, So this looks pretty awesome. So you get a feel for how all this works, and obviously, we have audio and video on the iPhone. I'm not gonna hold this up because I have to do the intro video, but I just wanted to show you how powerful it is and how easily we can add new sources in. So thank you for watching. Thank you. I'm gonna turn this off now. It's really that easy to switch back and forth between angles and you'll see right here. I actually made a mistake. I clicked on camera, see by accident. What I can do is select this portion of the clip. Go back over here, select this one and then go to here. And I've switched back to a camp show How easy it is. Always landscape folks. Never portrait. I don't want to hear about that. So let's see. No, doesn't like me. That is, in essence, editing a multi cam clip. You don't need a fancy camera to do this. You could do it with an iPad and an iPhone. If you have several android devices, just do a couple recordings from different angles. This is a great way for you and your friends to capture a song. It may be a concert. I don't promote bootlegging. Put at his one use where this could potentially come in really handy. Just experiment with it. It's actually really, really fun. 20. Making Audio Edits: - a little while back, - I attended a conference called Masters in Motion and heard a very smart director of - photography say that sound is actually 51% of the viewing experience, - that it's even more important than video. - His reasoning was that will often tolerate watching a poorly shot video as long as the - audio is good. - But the best video will always be stopped short. - If you can't hear what someone is saying or if it's full of static and home after hearing - his argument, - I actually tend to agree with him. - So you should be mindful of making sure that you have the best audio possible. - If you're shooting the footage you're gonna edit, - you might want to consider capturing from two sources. - If you're simply editing footage that's been provided to you, - you'll definitely want to be mindful of your meters at all times and make sure that sound - is consistent from scene to scene. - With all that in mind, - let's create a new project. - So I'm gonna press command and and I'm gonna call this Project audio, - and what I'm going to do now that it's open is just use our compound clip and I'm gonna - break apart the clips here so we can see this better. - And I press shift Z to zoom in a little bit. - That's great. - So two things you want to make sure that you definitely have your audio meters open over - here. - To open those, - you would click on them right here that toggles them open and closed and optionally. - What you can do is change your clip appearance to be audio Onley, - which makes it easier to mix. - The first thing I'd like to point out is a very simple, - effective way to change the volume of a clip. - All you have to do is mouse over the thin black line that runs along the length of the - audio wave forms. - Once you see this zero db, - pop up, - click and drag up and down to set the audio of the entire clip. - If you drag up, - you'll notice very quickly that the way forms indicate when the audio is close to or - clipping, - as shown by yellow and red peaks. - You can see that a little bit right here, - clipping results in audio distortion in the form of static or pops, - and you should try to avoid this at all costs. - Just because it's yellow here on the timeline does not mean that it's clipping. - It's just letting you know that you should be careful of raising the volume anymore. - In this area, - you'll sometimes have to play back a clip multiple times to ensure that the volume doesn't - exceed zero db over here on your audio meters, - especially if you have several clips layered on top of one another. - You can isolate the one you want to work with by selecting it and pressing the solo button - war by pressing option s. - So if I add it a piece of external audio right here and I'll just connect this with Q - scroll back a little bit now, - I could solo this by pressing Option s and you'll see that all of the other clips have gone - dark. - So when I play this back through, - obviously the instructor for this class, - all we're hearing is the audio of this particular clip. - Press option s again to unsold low it. - I believe you can also do this from up here in the clip menu. - Yes, - solo right here. - As far as delivery of digital media is concerned, - you never want your audio to peek at zero db. - The loudest part of your project should be between negative six and negative three db, - while the average volume across the board can hang around negative 12 db If you're not - really a fan of doing this on the timeline, - you can select the clip and then open the inspector over here and under audio. - You can adjust the volume from right here. - So you see, - it's a 12 and that matches up with what we have right here. - If I drag this here, - you'll see it reflected in the timeline two ways to do the same thing. - The next thing I'd like to point out are the fade handles. - You may have seen these while mousing over the clips in the timeline. - They appear on the far right and left of each clip. - Clicking on them and dragging allows you to create a fade, - and this is all done without having to add key frames or audio transitions or anything like - that. - These air made even more powerful by the fact that these fate handles have four distinct - fades. - If you right click right on the little nub here you could see that we have linear s curve - plus three D B and minus three db. - These four types of fades are good in a variety of circumstances. - Plus three D B is the default and is a good go to for cutting between dialogue and sound - effects. - Minus three. - Db is good for when a cut is too harsh, - but you need a quick drop and a slow fade at the end. - Linear works when you're looking for a volume decreased over a long period of time. - And finally s curve is good for fading and mixing between music. - Creating small phase of the beginnings and ends of clips, - especially on interviews, - has a tendency to reduce PLO sieves or hard peas, - and S is 21. Adding Music to Reinforce the Edit: - adding music to your project is the easiest way to bring it to life. - Fortunately, - final Cut has a ton of built in royalty free sound effects, - music, - compositions and much more. - What we want to do in this lesson is click on the music note in the toolbar over here, - and this brings up our sound browser. - In the top portion, - you'll be able to browse category folders for the types of sound you're looking for, - like animals, - explosions, - fully miscellaneous, - whatever that is, - and much more. - Let's go down to the jingle section under the Eye Life Sound effects. - If you're not seeing these folders and files, - you probably haven't downloaded the additional content for final cut. - To do that, - you can click on Final Cut Pro in your menu bar and choose download additional content. - Once that's done, - you should be good to go here. - So with Jingle selected scrolls through some of the songs that have been provided and - either double click them or click once and press the play button so we can go maybe right - here cool. - So these air pretty well produced. - Actually, - there's a wide array of music for all sorts of things ranging from newscasts too dramatic - or somber moments. - A funny thing to note is that as you get used to hearing these, - you'll start to notice and be able to pick them out from, - like radio and television commercials, - which is something that happens to me on a pretty frequent basis. - Actually, - to add one to your project, - all you have to do is drag it right over and connect it. - So for this part, - what I'm gonna do is I'm going to take this secondary storyline, - gonna select these clips and would drag them down to the primary storyline. - And I'm gonna attach the music right here in the beginning. - So let's go with sure we connect that one right there. - Now when we play it back, - that already looks a lot better. - Just by adding music that goes kind of with what we're looking at. - We've already brought this mawr toe life just like with video. - We can audition audio clips as well. - So with this one selected, - I can try another one out so I can go down here and I could say Galleria, - drag this one over, - place it over top and let go and I can add to audition. - And again we get our little spotlight right here. - That indicates that this is indeed an audition clip, - and I'll do this one more time. - Let's go down a little bit further. - Will try Redondo Beach long and add to audition. - So now I could play this back like we already had. - It looks fine, - but let's see what this looks like with maybe another track. - That's pretty good. - A little hilarious, - but good. - And we'll try with this Final one. - That's gotta, - vory victorious feel maybe that would go well if we started off with the rocky clip. - But you get the idea. - Audio clips can be faded in and out, - just like we do on our videos with the fade handles. - So we can actually take this clip right here and fade that in overtime. - So that's one second fade in. - That already sounds a lot better with that fade in, - as opposed to the abrupt kick. - You can also do something very powerful, - called ducking with our good friend the Range Select Tool. - So this is a great technique toe. - Have music playing at the beginning of a sequence at a higher volume and then have it lower - when we hear someone begin to talk. - So to do this, - what I want to do is switch over to the rain selection and right here, - when I know that Jeff is about to start talking, - I'm gonna press I on my keyboard to set in in point. - And now I'm going to grab the line inside of the range selection and just drag it down. - Final cut has added two key frames right to the beginning of our range. - A key frame is a point in time that has data associated with it. - In this case, - our first key frame is located right here. - Let me clear this range. - This is our first key frame, - and this is our 2nd 1 and all its telling final cut is that over this period of time, - we want the decibels to drop from zero to negative 15. - Final cut fills in all the information in between these two points to ensure the transition - from one volume level to another is nice and smooth. - You can click on an existing key frame and drag it around to to change its position in time - . - So let's say we wanted the audio actually fade out right as he begins talking, - we had place it somewhere right about there, - and we can make the fate a little bit longer, - so it's less abrupt. - If we play this back, - I find Philadelphia to be a city that is constantly That's not too bad. - I also want you to note that when he spoke here, - combined with the music we actually clipped over here. - So what will want to do is bring this down. - Just a touch, - maybe to 10. - And now if we play it back, - let's bring this down a little bit, - too, - so we can hear Jeff a little bit better. - I find Philadelphia to be a city that is constantly inspiring the the people here, - the architect. - This is also a great technique to stop clipping on our audio. - So you notice that we had to adjust all of Jeff's volume down. - But there are a lot of parts of his clip that aren't distorting, - So if we bring it all the way back up to plus 12 and let's zoom in a little bit here, - this is the part that is a problem. - But the rest of the clip seems to be just fine. - What we can do is switch back over to our range selection tool, - select this portion of the audio and then just drag down to about six or eight. - So what final cut has done is added key frames right here that will fade just this piece of - the audio down a little bit and then right back up before he begins talking again. - It should be pretty seamless. - Find Philadelphia to be a city that I bet you would never have noticed if I didn't tell you - usually in an interview situation, - you'll have a pretty dynamic range of vocal tones of someone laughs, - or they get particularly excited about something. - You'll have to adjust the volume accordingly, - but this is a super easy way to maintain consistent levels throughout the course of someone - speech. - Remember, - it's OK to peak between negative six and negative three db and maintain an average volume - of around negative 12 db Take a little time to play around with key frames as their super - important part of working with color as well as effects. - Finally, - final cut provides a wide array of sound effects and music files, - but it is a limited library. - Feel free to explore other soundtracks at the video music store and other sites like Audio - Jungle and the Music Bed. - All three are sources of high quality, - royalty free music in the case of Videos Music Store. - There's also an incredible number of songs that air free for personal use and only require - attribution while others started only a dollar 99 toe license. - I don't know how many of you have ever tried licensing music in the past, - but it can get pretty rocky, - so it's invaluable to have a resource like this right at our fingertips. 22. Using the Inspector for Audio : - I'd like to speak briefly about the audio enhancements that could be made in final Cut pro - 10. - So select a clip in the timeline and then open the inspector by clicking on this button or - by pressing command four on your keyboard. - Make sure the audio tab is selected, - and then we'll run down some of these options presented before us. - You could see right off the bat that we could do some of the same things we've done right - on the timeline, - namely, - adjusting the volume. - You can also set equalization from a list of presets, - or choose this down here match to match the equalization based on sound from another clip - in your timeline, - which is pretty handy If your background is an audio, - you can click on this little equalizer icon right here to bring up a 10 band equalizer, - which you can also expand to a 31 band equalizer so you can drag these up and down pretty - easily. - You can also hold option and drag to get a mortgage granular control over how quickly the - slider moves. - You can also grab a whole group of these by clicking and dragging and then selecting and - moving them up and down as well. - And the same thing with the option key works for more precise movements. - I'm gonna flatten that bag down and close that moving down here. - We actually have audio analysis, - which is what we covered in the import process. - If we click on the arrow right here, - we will automatically analyse the clip and let you know if there are any troubles. - A green check mark indicates that final cut believes everything is okay. - If you click on the square next to one of these, - you can actually enable it. - So even though final cut didn't find a problem if you believe one exists, - you can enable something like background noise removal. - All of these have some pretty basic controls for you to work with, - so you can choose the amount of background noise removal. - If you remove a lot of it, - your sound will become very tinny and thin. - And I can show you an example that right now So let's go to the end of our timeline here - and we will go to audio and let's choose guitar with home and a pen that using the e key. - So this is just a guitar loop where it has a little bit of ah hum in the background. - So let's see what final cut thinks about this. - So we see automatically that we have a exclamation point. - There's troubles here with background noise. - Let's play this back and see what it sounds like. - That's pretty bad. - I believe that's actually a 60 Hertz hum, - but final cut is detecting it as a background noise. - So let's see what we can do about it. - I'm gonna enable this. - And final cut tells us that the noise was reduced and the amounts of 50%. - So let's see what that sounds like right now you could see that it's actually thinned out - the sound of the guitar a little bit, - the lower parts of it and that home is still there. - So what I want to try to do is see if the hum removal will work here. - So it didn't get rid of it entirely, - but it did mitigate a lot of the annoying parts of it. - We still have this higher pitched thing going on, - so let's try toe add the background noise remover as well, - but we'll dial this back to maybe around 20% and see what happens. - So it's not perfect, - but it certainly did remove a lot of that noise that we had in the background. - If you have experience using an equalizer, - I'm sure that you could use some of those higher bands toe almost entirely mitigate that - little hum that we have at the high end. - But that's just one example of how final cut will try to attempt to fix some of the audio - issues you might experience. - Let's go back here by pressing this arrow. - So what we see here is the channel configuration, - which we explored a little bit in our lesson on audio sinking and multi cam clips. - You can disable this track entirely by un, - checking it just like that, - and you'll see that all of our way forms have disappeared from the timeline. - In some instances, - you might have a stereo track with only one channel, - so you can disable maybe the right channel when you only have a left. - You can also switch the channel configuration, - so if you know that what you have is a mono track, - but it's being labeled a stereo, - you could just said It's a dual mono, - and you'll get no perceivable difference in the audio itself. - The last thing I wanted to touch on that I skipped over, - and you're probably wondering, - why is the pan mode? - Because it's also the coolest. - So let's go back here and select an interview clip that we have. - Let's go with Jeff again. - Now from the drop down, - let's set the pan mode to dialogue when mixing four surround sound, - which you can actually do in final cut. - If you have the right hardware, - you primarily want your dialogue to be in the Center channel, - backed by the front left and front right speakers. - So let's toggle down the surround pander to see this in action. - If you grab the puck right, - and that's this little circle right here and drag it around, - you can see how distance and angle determined the source of your sound. - The larger the bubble that appears from a speaker, - the louder that source will actually be. - You can also key frame a puck, - which is pretty incredible. - So let's try this right now by default. - Dialog lives right about here. - So on this clip, - we're gonna start right here and to set a key frame. - You press this little plus button right here, - and we've added a key frame. - Now we drag a little bit later in time on our timeline, - and we'll set another key frame. - Now, - at this point, - you can drag the puck over here to the rear left channel. - Now watch what happens when we play this back. - You might actually even be able to hear it despite not having a 5.1 set up the way nature - intersects with the urban space and the what? - The real intensity of the pan amount slider does a lot of the same thing we just worked on - . - So let's choose rotate from the pan mode, - and then you'll see if we drag the pan amount slider left or right. - So because the park is right there off to the left, - we're not seeing it too great. - But if we drag it back to the middle and then mess around with the pan amount, - you'll see that it's kind of messing with all of our channels. - So center goes to the rear and the two rear channels kind of come up to the front and are - split between three different speakers and nothing really comes out of rear left a rear, - right. - It's actually pretty Wow, - that you can do this Such a small, - agile package if you find yourself needing to do 5.1 mixes. - In this case, - we're just working with stereo right here. - We have our left channel in our right channel. - You could do that very easily by going back to your project, - clicking on it and from the modify Settings area right here. - We could change our audio channels to surround. - Now, - I would don't recommend doing this unless you absolutely need it. - But the 5.1 mixing is available all from within final cut. 23. Applying Effects: - This is everyone's favorite part of working with in final cut pro 10. - Usually I cover adding effects after color correcting, - but I wanted to save that color correcting stuff for the very end. - When we cover some of the more advanced features, - it can literally have a class unto itself. - So without further ado, - here are effects. - Let's click on the effects button to bring up the panel. - So the main reason why you would use in effect is to build on over our king. - Look for your project. - This happens all the time in Hollywood movies, - Whether you notice it or not, - Horror movies like Halloween or The Ring are generally blue to convey a sense of Cold Fight - Club and The Matrix have sort of a green tent, - which makes everything more surreal. - Every Michael Bay film and I use the word film very lightly has strong splashes of teal and - gold, - which is actually in effect. - You can apply right here and final cut, - and that makes things look very modern. - The incredible thing about final cut Pro 10 is that you can simply preview in effect - without actually having to apply it. - If you have a clip selected in your timeline and you go over here, - you can just skim over and effect and have a preview applied to your clip. - If you press the space bar, - your clip will actually play back with the effect applied. - If we go over here, - we'll see that our clip is still the original clip. - We actually haven't done anything to it. - As you could see, - there actually a ton of effects in final Cut. - Some of these I have added, - but most of them are actually built in. - So take some time to look through them to find ones that you really like. - Because there are quite a few to love. - There are two ways to apply an effect to a clip in the timeline. - The first is really easy. - We can just double click on it, - and it gets applied over here. - That's not too bad. - The other way is to click and drag, - and that has been applied. - They're also super easy. - The orange bar you see running across the top of the timeline indicates that a clip needs - to be rendered. - This won't stop you from editing or playing back in a viewer clips But if you're - experiencing performance issues, - final cut begins its background render after five seconds of in activity or however long - you've set in the preferences. - And to see that number, - let's press commands comma to bring up our preferences. - And under the playback tab, - you'll see right here rendering, - currently checked by default background render is enabled, - and it will start after five seconds of in activity. - So if you're not playing anything back, - you're not scrubbing through clips. - You're not checking out effects. - Final cut will just kind of render things in the background. - You could choose to turn that off and then tell final cut when to do your rendering. - But for the most part, - it's nice to make your way through a project and have final cut rendering things as you do - . - Them effects could be stacked and combined to achieve really great and sometimes not so - great results. - If you combine one or two, - you can kind of see what happens. - So right here we have the desert glare, - and maybe I want to colorize this a little bit. - So now we have this reddish look. - If we open up our inspector, - we can actually see the effects applied right up over here and change their amounts. - While we're on the topic of tweaking our effects, - I'd like to discuss another way to initialize key framing in the video. - On using the inspector for video, - we took a look at how easy it is to just write from appear, - press a button and add a key frame. - But we can also do this from the timeline itself. - So with a clip selected press control V on your keyboard and this brings up the video - animation panel, - you'll notice are familiar blue lights right here that are also reflected over in the - inspector. - Any effect that has a dotted gray line along It can be key framed over time, - and we can also toggle up ones that have this little arrow right here. - So if we toggle up the opacity one right here, - you'll see were given this you may notice something very familiar here on the opacity - property. - We have drag handles just like we do with audio, - and you could probably guess what they dio. - They allow us to create incredibly simple fade ins and fade outs. - So if I grab one of these and I drag it over and I grab this one and I drag it over. - You play back this clip. - We've created a really nice, - very quick fade. - You can also hold, - option and click anywhere along the thin line to create key frames that you could then drag - up and down. - So if I'm right here, - let's actually go up to another one. - Let's go to colorize and I hold option and click, - and then I hold option and click. - I've just created two key frames. - I can now grab this key frame and drag it up, - and you'll see the animation happen over time. - It doesn't look like a great place to live anymore, - but you see the effect happen. - This is a super fast way to keep your editing workflow, - moving quickly without having to refer back to the inspector things like fade in and fade - out. - That's a no brainer. - Just do it right in the timeline when getting started. - It's easy to go overboard and crank these all the way up like I have done here. - But be judicious and you could come up with scenes that convey a mood without being obvious - . - And again I just want to reiterate, - just like our standard properties in the inspector. - Clicking on the blue light can turn this off just like that. - Generally, - you'll want to apply an effect to a series of clips as opposed to just want to add a more - cohesive feeling to your project. - There are a few ways to do this. - You could first create a compound clip like we've done in previous lessons and then apply - the effect to the entire thing. - But this is a bit drastic because effects that look good on one angle with specific - lighting rarely actually end up looking good for clips shot at a different angle under - different conditions. - A great way to move your effect groups from one clip to another is by selecting the clip - like this, - we can actually press control V to collapse this. - So with our clip selected, - we're going to press command, - see which is the command for copy. - Then we select the next clip that we would like to alter. - So let's say this one and then we want to go up to the edit menu and choose paste effects. - Now the skyline has that very same executive desert glare effect applied to it. - Let's take this one step further on the skyline pan. - Right here I am also going to scale it up and turn it like this. - And let's also crop a little off the left. - Now I'm going to press command. - See on this and I will go to this art museum clip right here, - and I will again paste effects. - So all of the effects that were applied originally to this clip right here were again - applied to this clip right here. - And then we made further changes to it and applied them to this clip right here. - So you see, - we actually have a fade in and fade out. - The art museum clip is rotated and cropped, - and it does appear to have the desert glare applied to it. - This is a super fast way to move your effects from clip to clip and then change the - settings as necessary. - If for some reason you'd only like to apply one or two of your effects, - you could do the same exact thing. - So I'm going to select this skyline pan and press command, - See? - And then I'm going to go to this city Hall in Parkway Clip. - But this time, - instead of choosing paste effects, - what I'm going to choose is paste attributes. - And now we have a list here that we can choose from of what we would actually like to carry - over. - So in this case, - all I really want it was maybe the desert glare and the rotation. - So I've just chosen those two and now all paste, - and you could see right there that it's on. - Lee taken the desert glare and the rotation and moved it over onto this clip. - You can also copy and paste any key frame animations you've created by opening the video - properties. - So if I go to this one, - I press control V, - and I see that I have these key frames right here. - Although it's not enabled, - let me turn it back on. - I can actually select these key frames, - click on this one and then hold shift and click on this one and then go up to at it. - Key frames Copy. - Now I can go to any other clip and paste those key frames into place. - This is a great way to reuse custom transforms and effects. - While we won't go into great detail with audio effects. - They behave nearly identically to video clips and can be key, - framed and adjusted in similar ways. - So what we can do actually is really quickly. - I will select this Jeff clip and we'll go down to audio right here, - and we can choose one to apply to Jeff. - So let's check out specialized Scratch that. - Let's Goto voice this one works. - Let's apply a little helium to Jeff's voice. - So now when we play this back for sex with the urban space and the what and the real - intensity, - it's really that easy. - So also from up in the Inspector, - if we click on the audio tab, - we can adjust the amount the e que and the pit shift of just this effect. - You can stack multiple effects, - just like with video, - so you can create some really interesting types of sounds from people's voices and also - from sound effects and even music 24. Using the Inspector for Video: While we're spending a lot of time here in the Inspector, it will be a good idea to run down some of the other video related settings that we can adjust here. First, I'd like to point out these little blue lights to the left of each of our properties. This is just a quick way to toggle them on and off for things like transforms. It's a great way to get it before and after. Look at your footage so going right down this list under transform, we have position, rotation scale and anchor position allows us to change the X Y position of a clip, which you can do is just click on the number and drag left or right, and it will be reflected instantly in the viewer. You can also double click and set a value right in here. Let's say zero set us back to center. Rotation allows us to rotate a clip, weaken, grab this little puck right here and rotate our clip if we want. Also, we can double click and out of value scale is obviously the size of our clip. We can scale up or scale down as we see fit and the anchor point determines the origin for some of these other transforms. So if I were to move the anchor point over this way and then do a rotation, you see we're rotating just left of center here. If I go a little bit further that way, you'll see. Now we're rotating kind of right on the edge of it right there. So you use that in tandem with some of these other transforms at any point, you can reset all of these settings by just clicking on this arrow right here. Next up, we have crop, and if we click right here, we can choose show to see the properties of Crop. This allows us to remove portions of the video from all sides. So I can take a little bit in from the left a little bit from the right, some from the top and some from the bottom so he can just get this very small view of Jeff's face again. I will click here to reset this well, actually touch on the different crop types in much greater detail in the lesson on working with images that comes a little later under crop. If we open it up here again by pressing show we have distort. This is actually a feature I use very little if you're familiar with Photoshopped. This is similar to applying a skew or perspective to your image. You can basically grab a corner and change its X Y position. So it looks a little bit like this so you can make something look like it's fading back into space there or fading forward like that. It all depends on how you move these X Y coordinates for each corner point. Like I said, I don't use it too much, but you can get some interesting effects with it. Next up is stabilization, and this is a really excellent feature. If you've shot something on your phone or maybe even a handheld DSLR, you know that it is nearly impossible to prevent some shakiness so stabilization can mitigate a surprising amount of this at the expense of losing some of the edges of your frame. I have included a clip called Stabilization We Can Open and Take a look At to see this in action. So I'm going to get rid of this guitar with hum track right here, and I'm going to insert a gap so we can separate this a little bit here. So I'm gonna press, actually Option W which will insert my gap clip right here up in our event here, I have a clip that I've called stabilization and I'll edit this down to the timeline with E . So this is from a neighborhood car show. And I shot this a few years back, almost entirely handheld, so you could see that it's slightly off center and if I play it back here, it's a little shaky, but not too bad. We can actually work with this, so we are first going to apply stabilization. And then we might scale it up and change the exposition to get a little bit more symmetry here. So with the clip selected in my timeline, I'm going to turn on stabilization by clicking right here. Final cut will do something called analyzing for dominant motion, where it's skins through the clip and then it will apply stabilization. So you saw what just happened there. We lost a little bit from the edges of the frame, and now stabilization is enabled, and our method here in the inspector says automatic If you're like me, though, and you like to tinker, you'll see that we actually have two modes down here to choose from Inertia cam and Smooth cam inertia Cam, believe it or not, is actually best for shots that are already on tripods. That you're either panning or you're zoomed really far in with smooth cam is much more effective for your run of the mill handheld shots. So when you're attached to a tripod, you can basically just go left right up, down. But when your shooting hand held, you have the ability to rotate as well. And smooth cam can compensate for any rotational changes as well. If we play this back with the automatic setting, you see that it's done a pretty decent job. But I'd like to show you one other thing that we have right down here, and that is this tripod mood. So if you've actually shot on a tripod and you were really far zoomed in, you still might notice that even the slightest motion can cause a lot of shaking in your image. That's what this mode is actually four. It'll mitigate all of those really tiny motions as long as your plans on a tripod. But in some cases, when we don't have a lot of motion in our image, we can use this and it will simulate the effect of having our camera on the tripod. So let me enable that and see what it looks like. You see, we lost a little bit more of our image there, but let's play it back and see what it looks like. Now see you. It's kind of a weird effect, but it actually looks like the car is moving now, not the camera. One other thing I want to do while we're here just to get a little bit more symmetry is to scale this clip up just a touch and then move its exposition over this way. We don't have too much more room to play with over there, so have to scale it up quite a bit more. And now moving over this way, that looks pretty good to me. So now we play it back. There you go again. It kind of looks like the car is moving there, but it has mitigated a lot of that shakiness. And while there's no real substitute for shooting stable during production. These can really save your bacon. The one downside like I said to stabilization, is that you lose some of the outer edges of your frame. And if the shakiness is really bad, the footage will start to look a bit more soft. So moving right along in the inspector over here underneath, stabilization is rolling shutter, and this is correction for clip shot on pretty much any DSLR type cameras that don't have a really high shutter refresh. If you've ever noticed solid objects, look a little wobbly well in motion on video, this is Rolling Shutter. Final Cut does what it can to help this, but the higher quality video you give it, the better the chances Final cut has a fixing it. Next up is spatial conform, and this is how our video fits into a given frame size. You can choose fit, fill and none fit is what set by default when you edit a clip down, and that will make sure that all of our video is visible within the frame size. Common frame sizes for HD video include 1920 by 10 80 which is what our current clips are 12 80 by 7 20 which is also HD just a little bit lower resolution and standard definition. 7 20 by 4 80 If you happen to have a video that was shot at an aspect ratio other than what your project has set, Phil will make sure to get rid of any black bars that you might have on the top or the bottom. Finally, you can choose none if you don't want your video to be altered at all. If you insert a video that's smaller than your current frame size, it won't be scaled up to fit. Conversely, if you insert a 10 80 video like the one we're working with into a 7 20 project, it will be huge. This, however, allows you to fake having two cameras, and I'm going to show you how that works right now. So the first thing we want to do is create a new project really quick. I'm going to press command N on my keyboard and let's name this spatial and press return. Now, by default and final cut, a project will assume the properties of the first clip you edit down into the timeline. So if we were to take any of our clips up here and edit them down. It would automatically go to 10. 80. But that's not what we want. What we actually want is for this project to be set at 7 20 So to do that, we click on it right here and over in our inspector. We choose modify settings under the video properties and format. Drop this down and choose 7 20 p HD. It will change the resolution, but the frame rate will stay the same once this is done. Press OK? And just as a quick sanity check, you can note over here that it's 12 80 by 7 20 Now, what we want to do is edit an interview clip down. So I'm gonna go to that keyword collection and I will grab. Let's go with this one of Evan. I'm gonna press eat at it. This down. I'm going to select this clip right here and in my inspector. I'm going to go over to spatial conform, and we see that the type is currently fit, so it has fit a 10 80 sized video down into a 7 20 project. Here's where it gets really cool. I'm gonna play a little bit of this. What do I love about Philadelphia? Well, I love the restaurant scene here. It's far cry from the rural part of Colorado I grew up in. I'm gonna make a cut right here with the blade tool. So I'm gonna select that click right there and I've made a cut. And remember, this is a through edit, so I haven't made a change to the duration on either side of this. I've just made a cut. Now on this side, I'm gonna change the spatial, conformed to none and watch what happens to the video. That's the full 10 80 sized video from here. What we can dio is actually change the exposition a little bit and the white position down . And now when we play this back, it'll look like we actually have a second camera that has zoomed into Evan seamlessly. What do I love about Philadelphia? Well, I love the restaurant scene here. It's far cry from the rural part of Colorado. I grew up in here. They're restaurants and every corner there's something. This is a super common technique that's used when shooting interviews. You shoot a little bit wide at 10 80. Then you edit your footage at 7 20 This is actually also one of the benefits of shooting at four K a four K images actually comprised of 4 10 80 images. So it gives you a lot of room to recompose in post. The last thing will look at over in. The inspector is at the very bottom, and that is compositing. So here you have quite a few blend modes. People coming from a background in photo shop will find this very familiar. And you can also change the opacity of a clip. So if you had a clip that was connected and you didn't want it to be fully opaque, you could dial it back a little bit to see what is underneath of it. The last thing will discuss is that you can key frame nearly every aspect of an effect in the same ways we've discussed with audio notice that when you mouse over any of these properties up here, you get a small plus sign in a diamond. If you click on it, you will set a key frame at the position of the play head. If we move forward in time, a little bit and click again. We've set another key frame, and now we can actually jump back and forth between these two points very easily with this little arrow right to the left of the key frame button right there and right there. So you were jumping back and forth in the timeline. Right now, if we jump to our last key frame and then change the scale and go back to the beginning, we'll see our animation take place. Every corner. There's something new all the time on. I love the fact that I can walk everywhere again. I grew up. We kind of just faked a zoom. They're pretty poorly, but there are much more useful applications for animating this, and we'll take a look in the next video at one thing that you'll definitely want to try to animate, and that is effects. 25. Transitions: believe it or not, we've been working with transitions this entire time. That's right. Each cut is a transition between clips, but those are the boring kinds. The quick and easy way to add a transition to a clip into Final Cut is to select an edit point between two clips and press command. T. What this will do is create a transition, caught a cross dissolve. The warning we just received was because there was not enough clip in the beginning of the Tim interview, and there was too much at the end of the Jeff one. So if we have a one second cross dissolve, ideally, what it would do is take half a second from the incoming clip and half a second from the outgoing clip. But if we play this back, it should look pretty good. Um, dedication, inspiring thing about are not too bad, right? We could also apply transitions to secondary storylines, which is something we cannot do with connected clips. So if we click right here and at a transition, and maybe we'll do the same thing right here. So now with Jeff talking, we should see some really nice transitions between these clips. I find Philadelphia to be a city that is constantly inspiring me, that people hear the architecture the way it's laid out. The that less clip had some of our effect supplied from the actual lesson on effects, but you get the gist. A number of the trimming options we discussed in earlier videos are also applicability to transitions so we can grab right here and do a ripple edit. You can also grab in the middle here and do a rolling at it so we can roll this way or roll back that way. Final Cut actually has a huge number of much flashier transitions that you can use in your projects as well. So in the toolbar, click on this icon right here to bring up the transitions like always, weaken, skim are mouse back and forth. To preview this transition, it will use some of final cuts built in images. We can also press space bar to see it play back in real time. To apply a transition to a clip, you can click and drag it directly to eclipse Edit point. So what I'll do is on this Tim clip. I know that's at the end. So while dragging a little bit here and on this art museum clip, I will also drag in a little bit like this. And let's grab this band one here and just drag and drop it right there. Now we play this back. Want to do something for not bad. Some transitions also have specific settings. You can adjust from within the inspector. All of them have audio cross fade settings to adjust. Since you're also transitioning between audio as well, you can play around with them to get some interesting results. So right here on this band one you could see, we can change the direction from horizontal to vertical and we can increase the band count . I think this goes up to 100. Let's see. Yes, it does. So if we play this back now on when you want to do something for that's almost an entirely different transition from the one we originally used. So you have a little bit of flexibility there as well. As far as the audio goes, it has the same things we talked about in our lesson on audio Linear plus three D B minus three db an s curve. So you get to play around a little bit with that as well 26. Using Generators: - generators air a quick way to set up a background for titles, - photos or videos that might not fill your entire viewable area. - So let's first click on the generators button right over here, - and we will select textures. - Find the one called Let's Go With Grunge. - I know that has a lot of really need options, - and we just click and drag it into our timeline. - So if we select it in our timeline, - you'll see appear in the inspector. - We have some options here that have moved over from motion where this generator was created - . - Generators themselves behave pretty much like any other video clip. - They can be trimmed, - edited and deleted all the same way with grunge. - Let's drop down this type here and play around with this a little bit. - We have AH texture, - too texture, - three texture for Let's go with six. - I like this. - We also have a tent color and tint amount, - so if we click here, - we can open this up and maybe all select green and I'll bring the tent amount up a little - bit. - So we have this really grungy green thing going on right now. - It looks like a Street. - Maybe it's a road we're looking at here. - Some generators actually move around. - So if you click on backgrounds and then dragged blobs over into your timeline, - you'll see that this one actually has some motion. - It looks a lot like a lava lamp, - which I'm sure is what they were going for. - But it also has a number of options for you to change those colors to match your project. - Generators convey as complex as this or as simple as something like setting a white - background, - it's totally up to you. 27. Adding Titles: - movies, - TV shows and even crazy cat videos on YouTube all have one thing in common titles. - Their primary use is to introduce the title of What You're Watching, - the name and or profession of the person you're watching and, - of course, - to give credit to all the contributors of the video at the end in the form of credits. - Let's click on the titles button right over here and see what we have, - like generators and effects before this. - Skimming over a title will allow you to preview it in real time as well. - Pressing Space Bar Ah, - lower Third is the most common type of title used to introduce. - Someone were watching on screen at the moment, - so let's browse. - Those will click on lower thirds right here before we move forward. - I just want to make sure that you have an interview clip on your timeline. - I have quite a few here, - but they are a little covered up. - So what I'm gonna do is move these clips right here so we can focus on this Tim clip, - and once you've done that, - let's select the snap left lower third and just drop it wherever you see fit. - So I'm gonna drop mine right about here. - If we pass over it, - we could see that we just have name and description, - which is not his name, - and might be an apt description, - but not great. - We can actually just double click on this text right here in the viewer to edit it. - There we go. - We can also edit this text from right up over here in the Inspector. - So let's play this back and see how it looks. - I'm not sure how how easy it is to get things started in other cities, - but Philadelphia is really I really like the way that that came in. - But I'm not sure that I like the way it ends, - so let's see what we can do about that. - So with the title selected right here, - let's go up to title in the Inspector. - Well, - looks like we actually don't have any of those parameters to edit here. - This lower third doesn't have that, - But this isn't the end of the world. - We know other ways to make things fade out in this case. - So what I'm gonna do is select this again and I'm going to press control V on my keyboard - to bring up the video animation panel, - which were all super familiar with under opacity. - Right here, - I'm actually just going to drag this in to about one second around about drop it down and I - will close this panel and now we'll play this back. - I'm not sure how how easy it is to get things started in other cities, - but Philadelphia is really great. - That was super nice, - very elegant. - I want to show you a couple things that we actually can change from inside the Inspector, - though. - If we click on this again and we choose a little bit of text, - you could see right over here we could edit things like font size alignment and many other - finer text based things lines basing, - tracking in some cases, - Kern ing and your baseline going down a bit further. - In the Inspector, - you can see options for many other familiar text effects, - like outline, - which is kind of like a stroke glow and drop shadow. - We won't go into the specifics on these because they're fairly straightforward, - and each has its own strengths and weaknesses, - depending on the footage or generator beneath it. 28. Working With Themes: - themes are incredibly well designed groups of generators, - titles and transition sequences that you can use in your projects. - Let's click on themes right now, - and then we will choose the bulletin board theme. - You could play a few of these back to see similar design elements and also just see how - well they're laid out. - So I'm gonna start right here and press the space bar. - That's a pan down, - weaken, - go pan. - Far right. - Here are some titles and they animate in and out. - We could also do something like this, - which is also a type of title. - So what I want to do is I'm gonna take this pan far right transition and drag it in between - these two interview clips right here of Jeff and Tim. - Let's play this back about the way nature intersects with the urban. - This really wow, - that was very interesting looking. - If we go back into the middle of that and take a closer look at what's happening here, - so we're panning from a cliff. - It's actually right here of Jeff to a video clip of Tim. - That's right over here. - But we have all these other stills, - and those are all represented by these numbers right here. - So we can actually click and drag these numbers around to change the stills of our - transition right here. - So I'm gonna do that. - Take one. - Now put on City Hall two will put on Rocky right there, - and you could see it updated in real time. - And three will use its the art museum right about there. - Four will use an office shot. - Five will use next fat and six, - we will use the skyline. - So now if we play this back the way nature intersects with the urban spaces, - this really that's something that, - if you had to do yourself in something like motion or after effects could potentially take - an hour, - maybe two. - And we did it in a total of about 30 seconds. - There are a ton of built in themes in final cut pro 10 and you are bound to find one - that'll work for your specific project. 29. Using Placeholders Effectively: selling concepts is one of the toughest things that an editor or DP is faced with. Pretty frequently, you come to a company with an idea or a series of ideas that you believe best represents their brand or their product without actually being on the payroll. So you put a pretty significant investment of time into this before you even know if you're gonna get paid. So unless you have a great working relationship with the company or they somehow trust you implicitly which, of course, companies do that all the time is actually a good idea to come. Armed with storyboards, something visual. Final cut Pro 10 has added one of my favorite features that makes interactive storyboards an actual possibility. So this will be real quick, but I just want to show you click on edit, insert generator, placeholder and click that you can choose the video properties. In this case, this is fine. This matches what our project should be impressed. Okay, let me press shift Z to zoom in a bit here, so we see what we're looking at. As we mass over here, you'll see that it's kind of just this little outline of two people in a field. If we click on this and go up to our inspector in the generator, you could see that we can actually change a number of things about this generator. We can change the framing to several different shots that are actually used. We can also change the number of people, the gender, the background so we can try maybe Urban, and we can change the sky to something like a clear night. And then we can also choose to be interior or exterior. And we can add notes because thes placeholders behave just like clips. I can literally take this and I can do some ripple edits. I could add another one and then transition between them. You can actually begin to edit a storyboard, just like you normally would edit a project. You can even add a soundtrack into the voiceover, work yourself from right within final cut. So if we go up to window and then choose record audio, you'll actually see the levels of me speaking right now to record this training. But all you have to do is press this button, and it will immediately begin to record down into your timeline and it will also be saved into your library. It can help you get a sense of timing, of what to shoot. And it helps your client see your vision the way you intend it. I will say on a personal note that I have actually pitched two clients this way. I got the job both times, so it actually does work. 30. Retiming: - If you've ever watched a Zack Snyder movie like Watchman or maybe 300 you'll know that slow - and fast motion effects can be incredibly powerful ways to allow the audience to focus on a - single portion of your story. - There are two types of re timing. - Constant and variable speed. - Constant speed, - much like it sounds, - applies a uniform value across the duration of a clip, - while variable speed increases or decreases speed. - Over time, - I have recorded something that looks incredible in slow motion for you. - The first thing we need to do, - though, - is create a new project so that we can work with it. - So I'm gonna press command N on my keyboard and name this slow motion press return. - And once your project is open, - let's edit down the clip named slo mo. - The next thing I'm going to do is press shift Z on my keyboard to zoom and let's play this - back. - Most slow motion videos would show you a water balloon popping or maybe someone smashing - something. - I believe you all deserve much better than that. - So if you've never seen a slinky drop in slow motion, - prepare to have your mind blown. - I don't know about you, - but just watching that regularly, - my mind isn't blown. - I just dropped a slinky. - That's it. - But if we re time this, - we can actually make it look pretty awesome. - So select the clip in your time line and then press command are This brings up a green bar - above your clip that tells us that we're currently running at 100% or normal speed. - There are several ways to apply a constant speed change at this point, - but the easiest is just to click the arrow next to 100%. - We get this little menu right here and we can choose slow, - which is measured in percentages of the total duration. - We get fast, - which is actually measured in multipliers of the total duration. - Or we can set our clip back to normal speed from right here. - Let's set this to 50% speed and see what it looks like. - So we've literally doubled the length of the clip. - So I'm going to press shift Z again to fit it into our view. - And let's play a little bit of this back. - Most slow motion videos would show you a water balloon popping or maybe someone smashing - something. - I realized a little too late into this training that I actually sound like I'm heavily - under the influence. - But let's just roll with this. - I know that that audio sounded a little weird, - but what final cut did was actually preserved the pitch of my voice a little bit. - If we select this clip and turn that option off from in the re time menu right here and - play it back, - it will sound much more like traditional slow motion voice. - It just adds an incredible amount of base to your voice. - Playing around with preserve pitch doesn't really work too well with voices or music, - but sometimes when you do this and you have a sound effect, - it can actually produce a whole new sound. - So I encourage you to play around with that a little bit while you're speeding things up - and slowing them down. - On the flip side, - we can actually speed this clip up to twice its normal speed. - So if I do that from right here fast, - two times we've actually cut its duration. - And if notice also how the bar turns blue to indicate that were using a multiplier or - speeding the clip up. - Let's play this back and hear my probably hilarious voice. - That's payback for applying the helium effect. - Jeff's voice A few videos ago, - I'm going to reset this clip back to normal, - and then I'd like to show you the last option in here, - which is labeled custom. - So here you can actually specify a value in the form of a percentage next to the percentage - . - Also noticed this check box labeled Ripple. - If you check this box during a slow motion effect, - let's say it will push all subsequent clips further down the timeline to accommodate the - new longer clip. - If, - however you leave it unchecked, - it will still slow the clip down. - But on Lee, - as much as it can fit within the same duration that it currently occupies in that same - window, - you can also specify a duration. - So if I know that I need this clip to fit within a three second time, - when no SE final cut will do the rest and you could see that the rate has actually been - sped up 584% and that's about other is for constant speed effects. - So let's take a look at variable speed effects, - which are really the more stunning of the two. - So I'm going to set my clip back to normal speed from the re time menu. - Over here. - You can also press shift end on your keyboard. - Variable speed effect is applied with a new tool in final cut called blade speed. - What you can do is select the clip that you want to speed up or slow down, - and once it's in your timeline, - place the play head or skimmer, - where you want the effect of slow or fast motion to start. - So let's say right about here for us and then press shift, - be on your keyboard and then moved to where you want the effect to end and then press shift - . - Be again. - If we zoom in here a bit, - you'll see what's happened is Final Cut has actually created three different segments for - us to work with. - So we have one over here, - the one in the middle with the effect and then the one here at the end. - So with this in mind, - I'm actually going to just slow down the middle portion right here, - which is where all the good stuff happens and I will slow this down to 10%. - Now let's press shift Z and play this back to really have our minds blown. - Prepare to have your mind blown. - So not only did that look awesome because the bottom of the Slinky appeared to be hovering - in mid air, - but we also as just a very cool side effect, - captured the sound of the Slinky and it fit perfectly. - One thing you also may have noticed is we have these lighter bars on either side right here - and right here. - This allows you to adjust the easing in and out of the slow motion so I can actually click - this bar and drag it out further to begin the slow motion effect or begin easing into it - earlier. - The same is true for the other side. - I can ease out of it later in time. - Really. - The best part of this effect is that final cut automatically made a gradual transition - between normal and slow motion and then slow motion back to normal again. - Previously, - you would have had to set a ton of key frames and almost go frame by frame to recreate this - sort of in effect. - So if I set this clip back to normal from right here, - we have our whole clip again. - They're just a couple other features that I'd like to talk about from the re time menu that - you might be interested in. - So the first this speed ramp. - So if we select this, - we can go to zero or from zero. - So if we go from zero, - you'll see what'll happen to the clip. - Ah, - press shift Z here. - Final cut has broken it out into four segments and you'll see that each segment gradually - gets faster than the previous one. - You see this all the time with extreme sports, - like snowboarding or BMX cycling, - and it's definitely something that is great to have automated right from within. - Final cut pro 10. - I'm going to undo that for the next feature. - I'm gonna cut a lot of the clip down to show you the meat and potatoes of it. - So I'm just gonna go right here and press option left bracket and then go right here and - press option, - right bracket. - So this is just the drop that we have right here. - So with this. - Select it. - I'm actually going to choose instant replay and we'll do the instant replay at 25%. - Now let's see what happens when we play this back. - Final cut. - Not only did it duplicate the clip and slow it down for us, - but it was kind enough to add a title that tells us that it's an instant replay. - I'm gonna undo this to get back to our original clip, - and here we are, - back in the re time menu. - We have something called the hold frame. - So if we select that, - this is a very simple way for you to Paul's part of your video to enable your viewer to - focus on what is about to happen. - If we play this back, - you'll see very simply, - it just freezes the motion there to have your mind blown so you can see how you might be - able to build a little bit of anticipation before a slow or fast motion effect happens. - I'll undo this one more time, - so the final thing I'll show you when it comes to re timing video is quality. - So if we open our every time menu again and go down here to video quality. - You'll see that we have three options here. - Normal frame blending an optical flow. - The differences between them are pretty huge. - Normal just duplicates your frames and inserts them to create a slow motion effect. - There's nothing too fancy here. - This one happens almost instantly and looks better when it's rendered. - Frame blending also duplicates frames, - but as the name suggests, - it blends them together for a slightly smoother motion. - Finally, - optical flow actually creates frames where they previously didn't exist. - Based on the surrounding frames, - the technology is just incredible. - It was actually poured it over from another Apple program called Motion. - Based on those descriptions, - it's tempting to just always choose optical flow and be done with it. - But there are circumstances that benefit from all three types, - which is why you have three to choose from. - The one downside of optical flow is that it has toe analyze the entire clips motion before - it is applied. - It's very time consuming, - but the results are oftentimes stunning. - As you play around with speeding things up and slowing them down. - Take a look at the different video qualities to see what works best for you 31. Freeze Frames: - this lesson is short and sweet, - but it should be noted, - since freeze frames are different from the hold frames that we just looked at. - So no doubt hold frames are convenient, - but they sometimes apply what is a needless re timing effect. - Toe a clip when it might not be necessary. - So it's with that in mind that final cut allows you to create freeze frames from either the - timeline itself or the media browser. - And this couldn't be easier. - So if we go up into our media browser, - appear and select a clip, - you can mouse over. - Maybe this one and all you have to do is press option F on your keyboard. - A freeze frame from that clip is then edit it down at the position of your play head, - and it's made into a connected clip. - One really cool thing is that you might happen to take a freeze frame from a really long - video, - or you might have lost its place right here. - This also applies to video clips in your timeline, - but you can actually right click on it and choose reveal in browser, - and it will highlight the clip that it came from in this case right here. - Freeze frames can often save you quite a bit of time and final cut, - especially if ah, - hold frame is a little bit of overkill. 32. Working with Images: - just so we're all on the same page. - I've created a new project called Images, - and I've edit it down these three images to my timeline, - Ferris wheel, - Lazy River and Sunrise. - They're always times in post production where you'll want to trim scale, - rotate otherwise, - reframe your footage. - We've already seen how to do this from inside of the Inspector, - but you can also do it by clicking on the little icon in the lower left of the viewer right - here. - Make sure your clip is also selected in the timeline, - so you'll see here. - It might be a little bit hard to see. - We can change our zoom level for the clip to get a better idea. - If I change this to 50% you'll see we have these blue dots surrounding our clip. - Grab any of the blue dots and click and drag, - and you can begin to scale the image. - If you grab the small bar at the center of the image, - you can rotate it. - The closer you are to the center, - the quicker it'll rotate. - If you drag out further, - it's amore Fine rotation. - If you hold the shift button while rotating, - you move in increments of 45 degrees like this. - You can also click anywhere on the image itself to drag around, - then reposition it so you could scale it up and then move it around. - If you want horizontal and vertical guides as you drag, - just click on the center anchor point and those will appear as necessary before moving - forward. - I'm going to reset this from over in the inspector by clicking on this arrow right here. - Now, - from this little drop down, - if we choose crop, - you'll see we have three different options at the bottom trim crop and Ken Burns trim - removes portions of your image or video clips similar to masking and photo shop, - so I can remove this portion from right over here and then this portion from right over - here now, - I could maybe drag this image over here. - You could see that we are, - in essence, - using a mask to move around on top of the image, - not necessarily moving the image itself from over here. - I'm going to reset this now. - I'm going to choose Crop Crop lets you adjust the framing of a clip while maintaining the - same aspect ratio. - So let's say that we wanted to get a little bit closer in on this Ferris wheel. - I drag like this, - and then I can actually select this box and dragging around. - And then when I'm happy with what I have a press done and this new framing will fill the - viewer, - you could probably do the same thing with a combination of trimming and scaling. - But this knocks out both settings in one shot. - I'm going to reset this one also. - So with crops selected again, - the final mode is Ken Burns. - So let's select that if you don't recognize the name. - Ken Burns is a documentary filmmaker who popularized this effect in a number of his films, - where he would basically pan a camera over old photographs. - So I have these photos here and you'll see that we have two boxes, - a green one labeled Start and a red one labeled end. - I'm going to click on the start one to make sure that selected, - and I'm going to move this and make it a really tight shot on the Ferris wheel just like - that. - And then I'm gonna end on something wider, - but not the whole image. - So I'll scale in the end, - a little bit here and maybe make it look something like that. - You compress the preview button at the top of the viewer to see this in action before you - apply it. - The preview button is right here. - This is literally one of the most effective ways to bring a photograph toe life. - If you'd like to reverse the motion that you've just applied, - you can click this button right here and you'll see that we have swapped their positions. - So this one will start wide and end cropped in. - You can right click anywhere in the image and choose a specific type of motion as well. - So in this case, - we ease in and out. - But you could also choose just to ease in or out or just do something linear, - which is constant speed from start to finish. - When the effect is to your liking, - you compress done and it will apply. - The final crop mode will look at is also the most nation. - Unfortunately, - let me reset this and dropped down to use distort now. - Like I said, - I actually don't use distort in the inspector either. - But this mode does allow you to add a little bit of perspective to an image. - You just click and drag a corner like this to make it look like it's fading into the - distance or pull it forward to make it look like a clip is coming at you. - You may have a project or two that requires a look like this, - so play around with it to get a feel for how the tool actually works. 33. Primary Color Corrections: - color correction, - also known as color grading, - is an essential part of the video editing process and usually happens once the narrative - has been approved. - There are two types of color correction you have primary and secondary primary color. - Correction generally makes adjustments toe large parts of the image like exposure, - saturation and color balance. - While secondary color correction allows you to focus on key parts of the image, - you'll see what I've done here is I've created a new project, - and I've named it color correction, - and we have six clips in the timeline. - Those clips are these four right here of foliage, - and then if you scroll down a little bit farther, - you'll see I have overexposed and over exposed to. - So with a clip selected in the timeline, - let's go up to our inspector and check out the color area. - The first button is labeled balance, - and it's the very same option we have when we import our clips with this selected final cut - will attempt to balance the color of the clip based on the information that it has, - it will try to detect if a scene is too warm or too cool and counter balance it from - personal experience. - This one is really a hit or miss for me. - Let's see what happens when we try to apply it to a clip like this that is already balanced - really well. - So it's subtle. - But you see what final cut is done is it's actually cooled the image down a little bit. - But in doing so, - the shadows right over here don't look great. - If I turn it off, - This actually looks much better if we go over to the next clip. - This one is the same exact shot, - but with a different white balance. - And this actually needs to be corrected. - So let's see how balance handles this. - That's not bad. - It took away some of those blue hues. - But now, - when you compare it to the original, - you could see that there still really no contest between the two Final cut Did an OK job - here, - but not great. - So I'm gonna turn that back off. - The next option we have is match color and once selected, - this allows you to choose a single frame of another clip toe base your color correction off - of. - So this one actually works surprisingly well with the same clip selected. - That obviously needs to be balanced. - I'm gonna choose match color. - Now you'll see. - We get this to up display and on the left we have the next clip in our sequence and on the - right, - we have the clip that we want to correct. - So as I scrub around, - you'll see that one on the left changes. - I can choose another clip that's on my timeline. - Since this one is balanced correctly, - I'm going to choose this and then watch what happens on the right final cut. - Did a great job of taking the color information from the 1st 1 which was balanced correctly - and applying it to the 2nd 1 Let me click Apply match here and now let's compare between - this one that was matched and the original. - That's not too bad. - We have a little bit more contrast in the original one, - but this one looks pretty close, - much better than the results of balance color. - But the real power comes from custom corrections. - So what I want you to do is select one of these overexposed clips. - I'm going to use this long pan right here because I think it's a great example, - and once you have that selected go up to correction one and all the way over to the right, - you want to press this button right here, - which shows corrections. - So you see, - we have three tabs across the top here for color, - saturation and exposure. - I generally do my correction, - starting with exposure than moving to color. - And then finally, - to saturation exposure adjusts the contrast of the clip or the difference between the - lightest and the darkest parts. - So if we go to that tab will see right here. - The slider on the far left is a global slider, - and that affects the entire image. - So if we drag this all the way down, - that looks pretty bad. - This is almost wholly under exposed, - and conversely, - we drag it all the way up, - and we have an image that is barely visible because it's almost wholly overexposed. - Let me reset this back to zero. - The next three pucks control the shadows, - mid tones and highlights, - respectively. - More often than not with video, - you'll only have to perform corrections to specific parts, - so having control of these three independent areas is actually super useful. - And while your eyes are probably a fine indicator of how an image looks. - It's always a good idea to get an objective opinion, - and that's where video scopes come into play. - Let's go to window viewer display show video scopes. - At this point, - you might also want to collapse your libraries area over here, - which can do by pressing this button, - and we can drag this out a little bit more. - So the first thing we want to do is make sure that your way forms match up with mine. - If this isn't what you're seeing down here, - click on settings and choose wave form. - And then from there, - either choose RGB Parade or, - in this case, - actually, - let's go with Louima. - This scope is a measure of your black and you're white levels. - Any line on this graph is called a trace. - Any traces that touched the bottom line at zero are considered pure black. - Any trace that exceeds 100 is not safe for broadcasting because it's over exposed. - The idea is to get the traces as far as possible, - up and down, - without exceeding maximum or minimum values to get the most out of our image. - This is called enhancing the dynamic range. - Most cameras have a history Graham feature on them that provides a lot of the same feedback - for it while you shoot. - I tried my best for this event to shoot things balanced, - but sometimes even the best clips are over exposed, - especially if you're doing running gun. - So let's go back to this clip right here. - We could see that we have a lot that is over 100. - So the first thing we can do is we grab our highlights because the highlights are - represented up here and also by this puck, - and we'll just drag down a little bit and notice what it's done for our image as well. - If we drag this back up, - we're actually getting a little bit of color there as well. - A. - Some detail. - We can also see a little bit of blew up in the sky. - Now the next thing I want to do is make sure that we have a little bit more contrast. - So I'm going to drag down on the shadows to make that happen just a little bit, - just like that. - And finally we can play around with the mid tones, - which kind of move this area in here around a little bit. - Mid tones can help if you have to bring your highlights down quite a bit, - and you don't want your image toe look to washed out. - If bringing the highlights down has a negative effect on the overall image. - But you still see there are portions that are over exposed. - There are a few spikes here and there. - Final cut actually has a broadcast safe effect that you can apply to your clip. - This is less relevant work for Internet distribution, - but if you are working in broadcast, - you have to apply this to make sure that your clip complies with broadcasting standards. - So let's swing over to color right now and for color. - We want to change these to be an RGB parade, - which shows us the balance of red, - green and blue. - Here, - like with exposure with large puck. - On the left is our global color balance and affects the color in the shadows, - mid tones and highlights. - If we drag this up, - we make everything green, - and the RGB scopes reflect that dragging up will add the color and dragging down will - subtract that color. - Be aware that color is, - and there is truly a pun intended here. - A balancing act. - You can't remove one color without introducing its opposite. - For instance, - if we drag the puck over to the far left and down and we begin to remove red, - you'll see that things will compensate by adding blue and green On the flip side, - if we add too much red, - blue and green go down. - If you click once on a puck, - you can actually use the arrow keys to move it up and down, - which allows for slightly more granular controls. - You can go up and down without worrying about dragging to the left or to the right. - I'm going to reset these colors all back to zero because for the most part, - this is pretty balanced. - Finally, - we're going to move over to saturation. - This one looks quite a bit like exposure. - You have your global slider over here, - and then saturation controls for shadows, - mid tones and highlights. - If we drag global all the way up, - things get really surreal. - If we drag it all the way down, - we become black and white. - This is an area that you can mainly adjust to taste and once done, - let's go back to our main inspector window to see a really quick before and after of your - color corrections. - You can simply turn on and off this correction right here. - So you see, - the original clip was really over exposed. - We don't have too much detail in the sky or on the ground, - but when we turn this on, - it already looks much, - much better. - There's really no substitute for shooting correctly on the camera, - but sometimes color grading can salvage what is otherwise a lost cause of a clip. - So let's run through over exposed to really quickly and I'll show you what I might do to - color. - Correct this. - So I click on it and we go to correction and I'll start with the exposure and I will switch - this over Toe Loma. - So we see that we have a lot of over exposed here. - Probably in this area, - basically, - anywhere the sun is reflecting and the ground here, - I'm gonna pull the highlights down a little bit right there. - And we've already gotten much more detail right here on the street and to counter act that - I'm going to drag down on shadows a little bit to add some contrasts. - That looks pretty good and maybe the mid tones I'll bring down just a bit as well, - because we have a lot of mid tone grey right here on the front of the wheel and then in - color. - It's very red you can see right here, - but it's because the car is mostly red and that occupies a great deal of the frame. - So this looks pretty balanced to my eye. - So we'll go to saturation. - And here I'm just gonna boost this up a little bit globally. - But I think it will make quite a difference. - So this looks good to me. - What I'm gonna do is go back and we're going to see a before and after of this clip. - So here it is, - with it on there is the clip before the corrections so you can see the kinds of things you - can do to video footage just by performing a few quick edits with a color corrector. - One final thing I'd like to show you if we go back into the corrections area, - you might have noticed down here we have some presets. - So this color correction that I just performed. - I can actually save this as a preset and then apply it instantly to other clips. - But what I actually want to show you is let me reset the whole color adjustment. - So we're back to square one and then select one of the presets that final cut has built in - . - So let's see what Frost looks like. - I'm guessing. - Probably pretty blue. - Yes, - we're really going overboard on the highlights here. - If we back that up, - maybe we can try to apply summer Sun. - That one looks pretty good, - but we would have to tweak it a little bit more. - We got the exposure here and brought this down quite a bit. - That's within normal range still, - but it doesn't look great. - Ah, - lot of the presets are kind of just starting points for you to get a look established. - And once you're comfortable with what a preset does, - then you can try to copy it and mimic it and make it your own. - There is a lot of flexibility color correcting in final cut pro 10 34. Working With Photoshop Files: I know a lot of video editors walk the line between disciplines, and I'm sure many of you have familiarity with either Photoshopped or illustrator ID like to show you one cool feature. And that's the ability toe work with layered Photoshopped files right inside. Final cut pro 10. So rather than exporting your image as a J peg or PNG and risk losing a little bit of quality, you can actually just import your PSD files directly and then manipulate the individual layers with final cut. So I've included one right here, so I'm gonna put it right at the beginning of this skyline pan, and I'm going to use Q to connect it. Now that's a little long. So what I'm also going to do is use option right bracket to trim it down. Perfect. So I can actually just double click on this PSD to open up the individual layers in photo shop. If I wanted to, I could select this background layer and then press V, which disables it. If I then go back to my timeline, you'll see that just the Texas there let me double quick back in and enable that again also what I can do is animate and transform these individual layers. So from over here in my inspector, I could set a key frame right here and then move forward in time and said another key frame and then move this up. So then, over time, as I play this back, it moves up, and that would be reflected in my main timeline as well. Let me undo that. One of the coolest things and the final thing I'll show you with PSD ease. You can feel free to experiment. A lot more is I can actually use blend modes with ease to create some pretty awesome effects that would otherwise require going into a motion graphics program. So I'm going to select this PSD and in my inspector, under compositing Let me choose Silhouette Louima. Now we actually have the video playing behind our text, which is a really awesome effect and a great way to introduce your story if we play this back. Our creative community in Philadelphia is one thing we can actually do here. To make this look even better is let me trim a little bit more of this clip. I will press control V on my keyboard. Open up a pass ITI and fade this out over the course of one second. Now in this place will be panning the skyline with an overlay of text and it'll fade out to show you the rest of the pan. Our creative community in Philadelphia is this really? That's pretty cool. We were able to do that in what, 45 seconds if you had brought that into a motion graphics program and then made the changes and brought it back. You're talking about a series of minutes, tens of minutes, so these little things can really add up and save you a bunch of time. 35. Secondary Color Corrections: - secondary color corrections provide you with a number of excellent options for further - adjusting your picture. - One really cool thing that we can do is isolate and changing color on the fly. - So what I want to do for this is grab a shot that has a lot of different color. - I actually like this one a lot the office shot. - So I'm gonna edit this down to the timeline with E. - I'm going to select it and then I'm going to go here to the color area. - In my inspector, - what I want to do is select the eye dropper next to correction one. - And this will add a color mask over in my image, - I click on a color that I want to edit. - So I like this pillow right here among to alter its color. - I click and drag and you'll see that I am selecting that color and similar colors in the - picture. - I'm going to release that. - So we saw that we got this. - And this blanket over here is similar as well as the exit sign, - as also a few shades of red over here in the books. - But any corrections we now make will only apply to those areas of our image. - So I'm gonna click on this button right here and let me go over to color. - Now with the global slider much this I'm going to turn those green. - Now that looks pretty horrible. - But you can take a portion of your image and change it to a different color. - Obviously, - you would not want to use the global slider to do that. - Perhaps may be or not to such an extreme degree if we were to just maybe change this color - too purple. - That doesn't look too bad. - There are limits to what can be done. - It also depends on the quality of the footage that's been shot. - This footage that were actually editing has already been graded. - So overall, - things are already much warmer in this image. - If you had something right off your camera, - you may have better results. - If you ever needed to add more to your color masks say you didn't choose enough. - You missed this portion appear which obviously we did. - You actually can just go back with the eyedropper selected. - As long as it's blue right here. - You'll see we still have the eyedropper you can hold shift and then click and drag again, - and that will give you another sample and it will be added to the original. - So again, - we've made actually this large scale change to the entire image. - It actually kind of looks all a little bit magenta right now to see and refine your - selection mask. - Hold option and click on the color mask slider, - and you'll see an extreme black and white version of your clip. - I'm gonna hold option and click here and drag and you'll see the white parts are what's - really selected. - So maybe that pillow wasn't such a great idea. - There's a lot of things that match that color in this shot. - We can drag down and lower that a bit, - so if we bring it all the way over here, - it's just certain elements. - But if we option click again and drag up, - we can pretty much get this whole shot in here if we wanted. - So you have to be careful with this, - and there's a little bit of finesse involved, - but you can do really great isolations. - The next type of secondary correction is a shape mask, - the place where I use this most is an interview footage to really light up the talents face - . - Sometimes you don't have the luxury of setting up a three point like kid, - especially if you're doing running gun type stuff. - So being able to do this in post is very helpful. - I'm going to edit down an interview clip. - Maybe this one of Tim right here, - and I'm going to select it. - And this time, - instead of choosing the eyedropper, - the color mask, - we're going to add a shape mask and click on that. - So the mask now appears in the viewer. - You can resize it by grabbing any one of these dots and doing that you can rotate it like - we've done previously with transforms and things like that. - You can even change it from a circle to kind of around wreck. - By grabbing this dot right here, - clicking the anchor in the middle will allow you to move the mask as a whole. - And finally, - this outer ring defines a threshold so you can keep it pretty tight or you can have it - expand really wide. - We'll see how this works in detail in just a moment. - Basically what you should try to do here is get the talents entire face inside of this - circle as tightly as possible. - The inner circle. - So something like that. - So with your shape mask placed, - let's go over to our color board now, - notice down at the bottom. - We have to mask options inside and outside. - This allows us independent control to the areas in and outside of the mask itself. - Let's select outside and then bring the saturation down as an extreme example. - So notice that everything inside of the inner circle is fully saturated still, - and then, - as we travel the distance between the inner and outer circle, - it rolls off. - If we expand the outer circle, - so does our color. - But very gradually in general, - you should boost the mid tones and highlights of the exposure within a shape mask around - your talents, - face to subtly accentuate some of their features, - and you could draw their attention in. - So I'm going to reset the outside of the shape mask back to zero, - and we will go. - Actually, - while we're still in the outside, - let's select exposure and globally, - let's just drag down just a little bit and I'll expand this out drag that down just a - little bit more, - and then we'll go inside the mask. - So in this case, - maybe let's drag the highlights down just a little bit and maybe the mid tones up and maybe - the shadows up just a little bit. - Maybe just like that. - Now, - if we go back out to our inspector and we turn off our shape mask or hide it, - rather you'll see that we have this kind of nice light on Tim's face that wasn't originally - there. - If we turn off the correction, - you could see that's much more dramatic. - You could see now how much we've actually changed there, - and it looks pretty good. - We've drawn attention, - kind of right to that portion of his face. - A couple other cool things to note is that you can have multiple levels of corrections on a - clip, - so we have correction one which of course, - assumes that we can actually have correction to you. - Click on this button right here and you've added a second correction. - But be aware that each one builds on the last. - If you adjusted the saturation on correction one and then decided to change the color - balance on correction to. - You'll be adjusting supersaturated or de saturated colors. - Once you're inside a correction. - When you have one or more, - you can actually quickly jump back and forth between them using this drop down right here. - Like I've said, - the world of color correction is massive. - It is a job unto itself, - but final cut Pro 10 has some great color correction tools built in to start you on the - path to getting your footage looking great. 36. Sharing Your Work: Well, this is it. The final lesson. It's what we've been building towards exporting and sharing, although we did have the one on quick sharing in the first set of lessons. But let's forget about that one. For now, the less part of any editing project is delivery and final cut. Pro 10 makes it incredibly easy. As with most of the things to deliver your project to a variety of sources quickly and easily. The most common method you use is by simply clicking on the share button way over here, which is what we discussed in the earlier lesson. But you can also get to this menu by going file share and then choosing a destination right here. Let's revisit a moment, our final cut preferences by going to the menu preferences and then choosing destinations. We've already created a setting, but let's go ahead and make another one that creates a much more compatible file. So what I'd like to do is grab export file and drag that back over, and the other thing we want to do here is renamed this because we already have export file and this isn't very descriptive. Export file one. So Let's double click on this and say Apple devices and let's go with 10 80 so we know that the resolution of this will be 10 80. So in our format, let's drop down and choose Apple Devices. And for our video Codec, let's make sure that we're choosing better quality, since this will be delivery format will make sure that our resolution is 1920 by 10 80. Optionally. Since we've added them, we could include chapter markers and a device like an iPhone or an iPad or even an Apple TV will respect those chapter markers, and we can jump directly to them and then open with Let's just keep it a quick time player . So now that we have this done, let's close our preferences, go to the share button and choose Apple devices 10 80. Across the bottom of this window, you'll see, are very familiar video settings, including resolution and frame rate audio channels and total duration, as well as the Kodak of the exported movie. In terms of that estimated file size, final cut tends to err on the side of larger files, so keep in mind that this number could be much smaller In actuality, let's hover over this little icon right here to see what this video will actually play back on. That's a pretty good array of devices. I mean, I don't know anybody who still uses the original iPhone for anything, so I'm not too concerned about that as well Is the first and second Gen Apple TV's, as always, weaken further refine these settings by clicking on settings. This first option format has two distinct sections within it. So up here we have mastering and down here we have publishing the mastering options are for when you want no compression applied to your video and audio so that you can edit it in another program, something like Apples Motion, maybe adobe after effects or an audio editing application like pro tools, you can choose to export just the video, just the audio or both. The second set are what you'll be working with most of the time and deal with compressed formats for the Web and file sharing. As we've gone over, we have Apple devices, computer and Web hosting in general, I found most of these formats are completely interoperable, so if you were to choose computer and then hover over down here. It will only say Mac and PC, but that very well would play back on a newer iPhone or a newer iPad. Apple is just hedging their bets here. We've gone over. Most of these other options are video, Kodak resolution and things like that. It's worth noting that almost all video sharing sites will create multiple versions of your clip all the way down to standard definition. So if the bulk of your work will end up on YouTube or vimeo, always opt to send a 10 80 file and let their servers make smaller versions for compatibility purposes. It's much faster and much more effective, but this is all just a rehash of what we already know. I'd like to show you one final thing that is something relatively new, and that is bundle exporting. So if we cancel this and open up our preferences one more time, you'll see an ad destination. We have bundle. Let's drag a bundle from the right into the left column. I'm going to double click on the name here and name it Web. Now what I want to do is actually drag my vimeo account down in tow, Web and maybe my YouTube account down into a Web and let's go with Facebook also. Now let's go back to our share menu and choose our Web bundle. Now we get are pretty familiar interface here, but this time you see some arrows in the bottom left, which allow us to switch back and forth between all of the items inside of our bundle. This allows independent control over your output, it videos setting while maintaining the same exact metadata than publishing each of them with just the click of a button. So I generally have a bundle set up to send videos, video and to YouTube. I personally prefer the quality of the encodes on video. I just think the videos look way better, but you can't ignore YouTube just for the sheer number of users that are on there. Another example of a bundle that might be useful is to include exporting to video and then apple devices 10 80 p so that you have a version that goes online immediately, and then one that lives on your hard drive as a file that you consent to someone else. The possibilities are pretty much endless for creating bundles. And, as always, I encourage you to explore these, to find a workflow that works for you. Thank you for listening. It's been a pleasure. 37. 07 Markers and the Timeline Index: There are three types of markers I'd like to touch on briefly in final cut pro 10 standard markers to do markers and chapter markers to set a marker. Simply press em on your keyboard and one will be inserted at the position of the skimmer or the play head. Just like that. Press em again to bring up the marker menu. A blue marker is your run of the mill standard marker and allows you to denote any type of information you like, such as a scene change or the start of a new idea. So in this case, let me just call this one Jeff, and I'm going to press done note that this is a blue marker. Let's scroll a little bit later in time, and I'm very quickly going to press MN This time I want to switch to the second tab, which brings up a to do marker. These are actually incredibly useful for when you need to make a note to maybe replace a clip or at a sound effect, and have a box you can check. That denotes when it is complete so I can put right here replace this clip and then press done to do markers appear in red. And when you complete thumb, they turn green, which is incredibly rewarding. I am going to go back here and maybe set a marker on this clip to do marker. Also fade longer, impressed, done. And then finally, maybe this one mm, and I will do Remove effect and press done. The final marker is a chapter marker. So again, skim anywhere, impress mm and then choose the third tab these air used when exporting a movie to DVD or Blue Ray and also for videos exported as apple devices. Chapter markers appear as a little orange bookmark and when selected, allow you to drop a pin on surrounding clips to set a poster frame for that particular clip . So this is very similar to what we saw in the Themes area, where we were able to denote still frames using the clips around us. So I can say this is Chapter two, in this case is the first ones who maybe Chapter one, and I can drag this out to maybe right there, and that chapter marker is set. Markers are a pretty great way to stay organized and on top of your project, especially when paired with the Timeline index to open the Timeline index, You want to press this little button right in the far left of your timeline? This brings up a searchable list of all the clips inside your project. You can narrow your results to just video. You can narrow it down to specific tags that you might have just audio or titles. If we click on tags up here, you can see what each of the clips in your project is actually tagged as and actually what duration they occur at clicking on any markers we set will take you directly to them. This is especially useful for these two do markers that we've set and they still need to be resolved so we could see right here. This one needs to be resolved. So what I will do is I will open that up and finish it will fade it just a little bit longer. Put that down and then from right here, check done and you see our marker has turned green to reflect that that is done down the bottom of the timeline index. We can narrow by just markers, standard markers we can say keywords. We can show analysis keywords, which I don't believe we have. Any of we can show incomplete to do items or complete it to do items and then chapter markers. The final tab is for roles which are a very specific way to prepare your footage for broadcast or editing in different applications not compatible with final cut pro 10. The combination of the timeline index and markers make for a pretty incredible way to organize and see your clips from a slightly different point of view.